Horribly Evocative, Grossly Inspiring: All Too “Swept Away” by Sofie Ramirez

Horribly evocative---these are the words I first used to describe Lina Wertmuller’s Swept Away. Watching the film elicited a very harsh emotional reaction and evoked some painful memories that I would have rather avoided, but Swept Away was created for that very reason. What I once took as the romanticization of a horrible issue was actually the opposite; Wertmuller made this film so that people could no longer hide in the silence of issues such as sexual abuse and rape. It feels as though she had accessed all of these negative feelings for the sake of change so that, instead of staying trapped in fear, I felt a call to action. She showed such inhumanity in her film so that we could strive for humanity in our everyday lives.

I realize now that the film was an attempt “to force [the audience] to think critically on societal issues with an objective morality, without romanticism or hatred of different concepts in their entirety, and by union of the most beneficial aspects of each system to create an objectively better world” (Hoffman, par. 7). However, I have to admit that my original reaction was not so comprehensive. Upon first seeing the movie I was devastated; I sat there with tears streaming down my face wondering why I needed to watch such graphic things. Some memories that I had been denying, things that I pretended never happened, were fighting their way up to the surface, and I blamed the movie for causing me so much pain. Clouded by anger and disgust, I was willing to accept the film’s criticism as an insult to women everywhere, pushing the feminist movement back for years to come. But more importantly, I was ready to sit in silence once more, thinking I could go back into my bubble, to lie to myself and say that things as horrible as this did not really happen to people and that it never happened to me. But then I was faced with a question, “What are you going to do: stay shocked or use those emotions to empower yourself to make change through your writing?” (Gottwald). So now I look at Swept Away with the new lens of social reform. I want to be a part of the conversation that Wertmuller has started. I went from seeing Swept Away as horribly evocative to grossly inspiring.     

It was not an easy feat to go from being absolutely disgusted by this film to using it as a catalyst for both personal and societal change. This issue became especially apparent during class discussions as the only things I would ever discuss were the scenes of graphic violence and rape. The nuances of the film were not lost on me; I understood the hypocrisy and sanctimony of it all. It was “incredibly ironic that the communist, who ostensibly fights for a classless society, sets up a diminutive sexist hierarchy as soon as the reigns are his to snap” (Hoffman, par. 5). I understood that through throwing away the shackles of society Gennarino and Rafaella could give into more primitive desires and live with no restrictions. I saw this, I truly did, but no matter what angle the class presented, my mind was ever fixated on the rape---but more so than that, the denial that rape had ever occurred. After days of class discussion, I had heard many people say that the scene in which Rafaella was chased, beaten, stripped, pinned down and eventually has sex with Gennarino (while unfortunate) was consensual because she technically agreed to it (Wertmuller, 01:06:00). Some argued that Rafaella was given a choice and did not have to sleep with Gennarino, but she did so repeatedly so it could not be counted as rape. The illusion of free will makes it so easy for people to deny that rape has occurred, but there is a danger to taking the word yes at face value and refusing to see everything that was manipulated in order to elicit that response and this manipulation has a name. It is called sexual coercion and it “is unwanted sexual activity that happens when you are pressured, tricked, threatened, or forced in a non-physical way” (Office on Women’s Health, par. 1). Rafaella faced the threat of starvation, physical abuse and even murder (Wertmuller, 01:32:00). When thinking about her options and the freedom she possessed in her situation, she tells Gennarino, “I feel like that rabbit you killed” (Wertmuller, 01:15:00). She saw herself as nothing more than prey that was hunted down and slain by a predator, a pitiful creature with no autonomy whatsoever. “Swept Away is not portraying the love between a tamed woman and the dominant man who puts her in her place; rather, it is a story about a cold mockery of love born from fear and abuse meant as a means of survival, not affection” (Knight, par. 2). Someone who has sex under these conditions does not do so out of genuine consent but out of a feeling of helplessness.

Wertmuller succeeded in her task to spur a homeostatic upset which forced me to come to terms with the reality of my own situation as well as the injustice of the world. Her film was powerful not only due to the vivid portrayal of issues of domination and sexual abuse but because of the social climate that she drew upon as a model for her story. Wertmuller created this film during the cinematic movement of Commedia all’taliana, “the genre [that] came in response to political unrest (legalization of divorce, abortion, etc.), poverty after WWII and other social issues…  as a way to talk about serious topics without creating something that felt like a lecture” (Garber, par. 2). Even though Wertmuller’s work served as a criticism of Italy in the Seventies, it also serves as an accurate commentary on today’s society.

One issue plaguing society that not only allows but encourages violent actions like those committed by Gennarino is the mentality of toxic masculinity. This idea that “men had to be tough, had to be strong, had to be courageous, dominating — no pain, no emotions, with the exception of anger — and definitely no fear; that men are in charge [and] women are not” (Porter 0:11)” is the reason sexual violence occurs. Toxic masculinity is not a natural mindset; it is a learned behavior, “a sturdy, poisonous branch on a tree built from social constructs” (Marking, par. 6) and it is constantly reinforced. While some men are taught to put masculinity “on the chopping block” as they know “its culture attempts to disguise dominance as benevolence… [that] has normalized values that debilitate not only men but women as well” (Gottwald, par. 9), these men are few and far between. The majority of “men are taught to… view [women] as property and the objects of men… an equation that equals violence against women” (Porter 09:20). This perception does not say that all men are doomed to commit such atrocities as the ones that were done to Rafaella or the ones that were done to me; it is to say that men are much more likely to commit these acts if society constantly encourages the mindset that men must dominate, regardless of the consequences. Toxic masculinity takes the blame off of men, as it is their right to control, and in some cases even shifts the blame onto women. When confronted with the horrifying reality of rape, some people will say things that echo the mentality that the woman “asked for it,” as “if these women [had] acted as society dictates a proper lady should, perhaps the men would not feel the need to break them down and build them back up again” (Rudegeair, par. 3). This “taming of the shrew” creates a vicious cycle of enablement, as men are encouraged to be sexually aggressive and submission, as women are taught to be meek and obedient.

Demanding social change and reformation is not enough when one does not have the complete knowledge of the systematic oppression that needs fixing. That is why, though it is shocking, it is important to “represent the decades of damage done by previous generations that lived in the shadow of ignorance all their lives. [So that] young people are forced to ask themselves the question: if it were up to me, how would I repair the broken heart of the world?” (Storms, par. 7). It is easy to stew in anger and point fingers at Wertmuller, to claim she is not a feminist and that her film is just an actualization of the male fantasy or a romanticization of rape (Ebert, par. 2). It is much harder to accept that Swept Away is something that we need to see in order to wake up and see how we have been socialized so that we may take back the narrative of sexual abuse. Wertmuller’s film is a testament of strength and shows that “victims have the ability to leave their abusers and regain their freedom, and that women do not have to be tethered down by men that wish to control them” (Knight, par. 8). Watching the film provides the audience a chance to shed light on the dark chasm of rape and to help pull people out of it; it is a chance to say “I am in pain and that’s okay; I need help and that’s okay. I don’t need to keep what happened to me a secret, and I don’t need to be ashamed. I was victimized but I refuse to be a victim, and I will not let this hold me back for the rest of my life” (Ramirez). This film gave me a realization that now is the time to take back my power and to live my life free from the fear of victimization. I will not be swept away by empty promises, but instead demand real change. Regardless of whether or not it is proper, I will be grossly inspired to find my voice and never let anyone take it away from me again.

Works Cited

Ebert, Roger. "Swept Away Movie Review (1976)". RogerEbert.com. Romano Cardarelli, 20

Feb. 1976. Web. 13 Apr. 2017.

Garber, Cerena. Class Discussion. 29 March 2019

Gottwald, Benny. “Putting Masculinity on the Chopping Block”. 06 February 2018.

https://giantstepspress.blogspot.com/2018/02/putting-masculinity-on-chopping-block.htm

Gottwald, Benny. Personal Communication. 11 March 2019.

Hoffman, Isaac. “Interpreting WALKABOUT and SWEPT AWAY”. 05 March 2017.

https://giantstepspress.blogspot.com/2017/03/interpreting-walkabout-and-swept-away.html

Knight, Lindsay. “Swept Away: An Illusion of Affection Stretched Too Thin”. 18 October 2018.

            https://giantstepspress.blogspot.com/2018/10/swept-away-illusion-of-affection.html

Marking, Alexis. “‘Boys Will Be Boys’ Until They Turn into Abusive Men”. 04 February 2019.

https://giantstepspress.blogspot.com/2019/02/boys-will-be-boys-until-they-turn-into.html

Office on Women’s Health. “Sexual Coercion”.

https://www.womenshealth.gov/relationships-and-safety/other-types/sexual-coercion

Porter, Tony. "A Call to Men." TEDX. TedX Women 2010, Washington DC. 30 Mar. 2017.

Lecture.

Ramirez, Sofie. Journal Entry. 27 March 2019.

Rudegeair, Anna. “The Same Old Story: Tamed Women and Their Misogynistic Male

Counterparts”. 28 February 2017.

            https://giantstepspress.blogspot.com/2018/02/the-same-old-story-tamed-women-and.html

Storms, Samantha. "Passion’s Dark Side: Roeg’s Walkabout vs Wertmüller’s Swept Away.” 08

December 2016.

https://giantstepspress.blogspot.com/2016/12/passions-dark-side-roegs-walkabout-vs_6.html

Wertmüller, Lina (Dir.). Swept Away. Perf. Giancarlo Giannini and Mariangela Melato. Romano

Cardarelli, 1974.

Walking on Eggshells: Gen Z & “Swept Away” by Shayna Sengstock

                                                        

I believe that the new generations are not taught to be prepared for what the world will throw at them. They are only told that people will change and that they should not have to face the problems that occur in the world.

— Kyle Thompson, “Are Millennials Too Sensitive?”

As a member of Generation Z growing up in the twenty-first century, I and many of my peers have encountered that famous saying, “I am a balloon, filled with emotions, in a world full of pins” (Unknown). This phrase has crippled the newer generations and caused us to act like fragile, overly sensitive humans who view everyone with different opinions as the enemy. As Kyle Thompson infers on the Millennial generation, born from 1980 through 1994, they have not been able to adapt to the real world. As well, my generation, 1995 through 2015, has also not been given the proper tools to solve problems; instead, we are coddled by our helicoptering parents who protect us from all harm. We expect others to walk to the same beat of the drum that we do, and when our homeostasis is upset, we curl up in a ball of self-pity. Barbara Lilley states in her article, “Why Are so Many Millennials Emotionally Fragile?,” “The world seems to be overrun with snowflakes whose fragile beauty dissolves as soon as they land on solid ground” (par. 1). We are so affected by everything we see and look at that when we have to view something difficult we break as easily as eggshells being walked on. I refer to our class discussion on who walked on more eggshells: deckhand Gennarino or the once shrewish but now subdued Raffaella in Swept Away?

Lena Wertmüller’s film evoked many emotions in me, some of which were most overwhelming. The way the characters treated one another made me feel indignant; the sexual harassment uneased me; the mistreatment disgusted me, and the abuse launched on both characters made me feel empathic. Unlike some of my peers, I was fortunate to be able to discuss the film with relevant people because I had built friendships with other students from last semester as well as with my peer teacher, Benny, and my coach, KP. In the basement of Axinn Library I discussed the film’s grotesque characteristics with Benny. I ranted to him about how the film trapped me and made me feel like I could not move forward into written self-expression. Through him I was able to calm down and I was able to see that by talking to someone it is easier to unpack the intensity in certain situations. I was used to watching fluff piece productions where everything ends in a happily ever after and Prince Charming rides off into the sunset. However, Wertmüller uses characters that really show what it is like to be a human being: Gennarino Carunchio, a short-tempered, lower-class man who was a leader of the communist party and Raffaella Pavone, a stuck up, highly opinionated lady of the upper class. These characters were meant to show the tension between Northern and Southern Italians during this time period and draw awareness to the corrupt political system that Italy was experiencing. “Swept Away observes a clash through two human manifestations of contrasting political systems who are in disagreement over the sexual politics of the time period” (Marking, par 3). The film shows how the main protagonist Gennarino sticks to a machoistic view of women, regarding them as “an object of pleasure for the working man” (Wertmüller, 1:24:34). Anger blinded Gennarino because Raffaella once held a higher position over him. He was someone whose views of the world did not permit women to have equal or higher rights than a man. He yearned to achieve the same level of respect and power that Raffaella evoked on a daily basis. Just like my generation, he was brainwashed by the cultural standards. Gennarino’s communistic views were challenged by Rafaella’s outspoken spirit; instead of humbling himself and realizing there are other ways of viewing life, he got wrathful and lashed out at her.

This brainwashed approach to life relates to Plato’s allegory of the cave. Gennarino was like the prisoners who just saw shadows of things and not the whole picture. When one of the prisoners was let go and saw what the world was really like, his eyes were opened to new ideas. The prisoner tried to go back to the others and tell them of his discovery. However, the other prisoners did not want to hear his point of view and therefore, ridiculed and abused him. Gennarino’s views were skewed by his pride just like the prisoners. When Gennarino finally had it with Raffaella’s constant nagging and criticism, he was seen chasing her around a deserted island abusing her for the “crimes” of the wealthy. “You are going to pay for everyone [. . .] that is for causing inflation and not paying taxes [. . .] and that is for the hospitals where the poor cannot even get in” (Wertmüller, 1:08:53). Raffaella struggled underneath him as he ripped her clothes off and whispered, “You are finally going to know a real man” (Wertmüller, 1:10:48).

This scene proved highly controversial among my classmates. We all were not used to watching films that made us uncomfortable and dared us to think too deeply about unsettling topics. Swept Away caused some of us to relive moments that we were trying hard to forget and caused others to be infuriated. Enraged, we argued about whether this film should have even been shown to us in the first place. In essence, we were all blinded by our anger. However, how are we supposed to stand up and make a difference if we are too afraid to watch something that shows us the corruption previous generations have experienced? How are we supposed to change the world if we cannot look at the problem head on? We all have been babied by the cultural climate we live in. “We know violent things are happening around the world, but we play a blind eye to them” (Thompson, par 3). We think that not showing these images will make them go away when in reality we are just sweeping everything under the rug creating more of a mound. “These problems will keep happening until we talk about them and bring awareness to the subject” (Solaimani).

So, what now? How are we supposed to open the eyes of our culture and make others realize the corruption that is happening around us? What we should not do is let our oppressors walk all over us like Rafaella did. She was afraid that if she spoke out against Gennarino that she was going to be harmed by him. This caused her to fall into silence. Gloria Anzaldua wrote in How to Tame a Wild Tongue, that we need to “Overcome the tradition of silence” (Anzaldua, page 40). “We are given tongues to be able to speak the truth and to stand up for what is right” (Schofield, par 5). We need not be scared or afraid to discuss these unsettling topics and show others our views on them. Rafaella was not allowed to voice her views on the island and was told by Gennarino to be submissive — women should be seen and not heard. “If that damn bitch doesn’t keep her mouth shut I’ll murder her” (Wertmüller, 7:15). Gloria Anzaldua was taught by her mother that, “Flies don’t enter a closed mouth.” Both of these women were forced into not using their voice. They were afraid that if they spoke they were either going to be deemed wrong or abused. It was only until both of these women realize that they “will no longer be made to feel ashamed of existing. [They] will have [a] voice” that they were truly freed from their oppressors (Anzaldua, page 40). That is why we need to learn to discuss these difficult topics instead of walking on eggshells and being afraid. If we keep our mouths closed nothing is going to change. “The world suffers a lot. Not because of the violence of bad people, but because of the silence of good people” (Napoleon).

Works Cited

Anzaldua, Gloria. (2019). [online] Everettsd.org. Available at: https://www.everettsd.org/cms/lib07/WA01920133/Centricity/Domain/965/Anzaldua-Wild-Tongue.pdf [Accessed 6 April. 2019].

Lilley, Barbara. “Why Are so Many Millennials Emotionally Fragile?” Intellectual Takeout, 1 Dec. 2016, www.intellectualtakeout.org/blog/why-are-so-many-millennials-emotionally-fragile

Marking, Alexis. “Boys Will Be Boys’ until They Turn into Abusive Men.” Taking Giant Steps, Kirpal Gordon, 4 Feb. 2019, http://giantstepspress.blogspot.com/2019/02/boys-will-be-boys-until-they-turn-into.html

Plato, “The Allegory of the Cave,” PDF & https://www.bing.com/videos/search?q=plato+allegory+of+the+cave+cartoon&view=detail&mid=C711AFC2F023B84F2320C711AFC2F023B84F2320&FORM=VIRE

Schofield, Sadie. “How Identity Works: Without Pain How Can We Know Joy?” Taking Giant Steps, Kirpal Gordon, 27 March 2019, http://giantstepspress.blogspot.com/2019/03/how-identity-works-without-pain-how-can.html

 

Solaimani, Shadie. Class discussion. 1 April 2019

Thompson, Kyle. “Are Millennials Too Sensitive?” The Athenaeum, 9 Aug. 2017, theath.ca/opinions/are-millennials-too-sensitive/  

Wertmüller, Lena. Swept Away, Youtube, 19 Feb. 2017, www.youtube.com/watch?v=OzAEF5g35uw