Platicsco Good story, Not enough for a whole film

Phonearl Good start, but then it gets ruined

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

gavin6942 A trip into the Mediterranean sea becomes a trip into the discovery of how society's frameworks of the rich and poor are delicate and temporary.In his review in the Chicago Sun-Times, American film critic Roger Ebert gave the film four stars, his highest rating. Ebert wrote that the film "resists the director's most determined attempts to make it a fable about the bourgeoisie and the proletariat, and persists in being about a man and a woman. On that level, it's a great success." I'm on board with Ebert. I think this film was exceptional. Emotionally, it was raw, and I have to praise the performers and the director for the intensity. How you get a love story out of deep economic and political hatred, I don't know, but they pull it off. And despite the violence and abuse, there is something deeper here. Really a great film with something powerful to say.

Marcelo Cunha When assessing the fighting that occurs between Raffaella and Gennarino in Lina Wertmuller's Swept Away (1974), many critics are led to believe that the movie discusses sexual roles in society, or Gennarino's misogyny, as Raffaella becomes subordinate and is slapped many times by the male Gennarino. Thinking of this satirical film solely in terms of the battle of the sexes only diverts viewers' attention away from the political meaning, which is much more distinct: the conflict between social classes and the rivalry between Italy's richer north and poorer southern region. The moral point of this satire is to depict the timeless clash of the two most opposing political views at the time the film was made in 1974. Only by considering the political situation in Italy in the 1970s, a period laden with social conflicts, and paying heed to the political dialogues and symbolism in the movie, can one truly understand the satirical theme of Swept Away. In Swept Away, political discussions among the characters are shown from the beginning to the end of the movie. The two main characters are not only separate by gender, but also by region of birth, class and politics. Gennarino considers the capitalist society as evil and is a committed Communist, while Raffaella is a raving capitalist. Even though a New York Times article addresses this movie as "Lina Wertmuller's Epic Battle of Sexes" alluding only to the physical fights between the two main characters, one should remember that for each slap on Raffaella's face, Gennarino names an evil deed the north Italian capitalists have done to the poor, which brings us back to the conflict of classes. But some insist there is no political content at all in this movie. Tania Modleski finds it an antifeminist, misogynist, film about men's sexual fantasies and sexual roles and attitudes in society, that the scenery of a desert island only makes the plot a classic masculine porno fantasy and an insult to feminists. Moreover, the author Lina Wertmuller despises ugly women, as the lovely beauty of Raffaella throughout the movie is towards to the end contrasted with the ugliness and unpleasant manners of Gennarino's wife. Lina Wertmuller has been indeed attacked from critics on feminist grounds. One of the misogynist critics brings up these questions: "For was not Wertmuller humiliating the woman merely to cram down our throats the spurious thesis that a work-class lover is so virile that we would at once be Swept Away by his abusive charm? That Woman secretly wishes to be abused and in fact can attain sexual gratification only by submitting to violence and degradation? And this thesis from a woman who calls herself a revolutionary? Are Wertmuller's women mere cows, anxious to be mastered and abused?" (Melle 82). Most of the feminist criticism centers on the scenes of physical fighting on the island, where Gennarino only uses violence as a reaction against his learning and socio-cultural limitations, of which Raffaella tirelessly makes him aware. Raffaella is a blonde, blue-eyed northern Italian; her northern accent is meant to be more sophisticated than that of the dark-skinned Gennarino, who speaks with a rustic and thick Sicilian accent. Not only because of their different accents, but the fights are also regarding their class inability to communicate that includes a mixture of difficult vocabulary and different values. The movie shows us a conflict of classes between two opposing stereotypes representing two extreme different worlds, the rich and the poor, the capitalist and the communist, the North and the South, the "pale" the "dark" skinned Italians. This conflict of classes reflects Italy's social reality of the time when Swept Away was released, in 1974, when the Italian political context in the late 1960s was characterized by social disorder, which resulted in a difficult and contradictory situation in the 1970s, the time when advanced and traditional sections of society got in disagreements creating serious national problems between north and south. In Swept Away, Wertmuller intelligently explores human emotions through the interaction of classes that defines and motivates not only Gennarino and Rafaella's behavior but also everyone's reality under capitalist society. On the yacht Gennarino works hard but his work does not mean anything, Rafaella maintains the position of a boss because of an accident of birth. She does not earn her position; she does not work for this position. While on the island Gennarino works and his work gives him power. He feeds them, hunts, builds the fire, and creates a place to sleep. His work has value while Rafaella's accident of birth does not guarantee a privileged position anymore. Perhaps, reviews should focus more on the issue of class rather than finding it misogynist. Works CitedCanby, Vincent. "Lina Wertmuller's Epic Battle of Sexes." New York Times. September 21, 1975: x15.Mellen, Joan. "On Lina Wertmuller." Society. October 12, 2007: 82-84.Modleski, Tania. "Wertmuller's Women Swept Away by the Unusual Destiny." Jump Cut: A Review of Contemporary Media. 1976.

bracketj Swept Away is criticized by Tania Modleski for poking fun at feminists. That is part of the film's accomplishment, though: Swept Away is culturally valuable for its ability to poke fun at everyone whose flaws warrant it. Wertmuller presents us with extreme characters in absurd situations—characters we love to hate but who are still capable of moving us when they express sincere emotional tenderness and vulnerability. This story explores the ways in which political and economic divisions allow pig-headed people to treat each other. And it certainly doesn't support the oppression of women, as a short-sighted viewing of the film may suggest, because Wertmuller emphasizes the notion that relationships based on one's ability to dominate the other perpetually fail. Whether that dominance comes from political, economic, or gender roles, domination and subjugation create such mistrust in both parties that love cannot sustain itself. Wertmuller masterfully creates type characters—the rich bitch and the vengeful Sicilian—who turn into human beings outside of society and touch the audience with their attempt and failure at love. The elements of composition, music and lighting are used in such a beautiful way that the audience is convinced throughout the couple's stay on the island that love is possible, despite the divisive odds against them, and so their fall is that much more saddening at the end of the film. And the often harsh dialog and action are Wertmuller's bright way of presenting a farcical tale to her audience, daring us to judge the characters lest we be judged.

MartinHafer This film is a time capsule of the 1970s in Italy and today many who view the film may not understand the context. At that time, there was quite a political schism in the country between the conservative and leftist wings of government. So this film can be enjoyed on two levels--one being a microcosm of the political and philosophical differences between the far right and far left. To me, though, this is not a great strength of this film, as the female lead is just too far right to be representative of the average political conservative--just the most rabidly extreme and one-dimensional. She was more a combination of a Fascist and ultra-Capitalist who sees the common people as riffraff to do her bidding--a horrid combination to say the least! He, on the other hand, was very pro-Communist but seemed like a much more reasonable person. So, if this WAS intended as political satire, the deck was definitely unfairly stacked in one direction--but it is still very interesting.Now if you DON'T see this as political satire, it's a much more enjoyable film. Instead of all the Italian politics, it's basically the story of a super-rich and super-selfish woman (Mariangela Melato) who mistreats everyone she considers her inferior (i.e., anyone not rich). On board a luxury yacht that was chartered, she is constantly demanding, whiny and NEVER appreciative of anything--treating those working on the ship as if they were idiots. You REALLY wanted to see something horrid happen to her! One of the crew members who comes to hate her most (and deservedly so) is Giancarlo Giannini--who is simply tired of her abuse but has held his tongue in order to keep his job.Eventually, through a strange series of events orchestrated by Melato, she and Giannini become shipwrecked on a deserted island. While there is fresh water and enough to eat, life is hard and the lady is ill-prepared for survival--as she expects Giannini to continue playing the role of a servant!! Well, this doesn't last long as their primitive lifestyle also calls for a more primitive relationship--with Giannini playing the strong clan leader and Melato as HIS servant!!! At first, she balks at this--that is until he brutalizes her until she shuts up and does everything she is told! This is very satisfying to watch. Rarely would I enjoy seeing anyone slapped around, but believe me, the writers did a great job of setting this up and getting the viewer to sympathize.Now where the film goes next is probably pretty realistic but also makes this a VERY adult film. Considering that they both are relatively young and good-looking, it's not surprising that the film becomes very sexual. I understand why the film went this direction but this makes it totally inappropriate for kids or even teens--especially when he ultimately forces himself on her. In addition, later they discuss sodomy--another topic most responsible parents don't want the little kids learning about from a film!! This aspect may also make the film uncomfortable for many adult viewers--particularly rape victims. However, if you are able to look beyond this, the film is in many ways quite erotic and even romantic.There is really MUCH more to the film than this. The film is super original, fascinating and well-made. It just MIGHT not be what you are looking for--please consider the content of this film before watching.UPDATE 9/10--I just saw the silent movie "Male and Female" which was based on the J.M. Barrie play "The Admiral Crichton" and can now see where the writer/director of "Swept Away" got her inspiration. Clearly "Swept Away" is a re-working of this earlier story, though unlike Lina Wertmüller's strong secular-humanist/communist leanings, the silent film was, at times, very preachy and religious. Interesting and a film fans of Wertmüller should see.