“The Beautiful, Unattainable Trophy and Beast” by Haley Ecker

Pretty? Check. Skinny? Check. Successful and smart? Check and check. This criteria makes up the modern day “trophy wife.” The term was coined in Fortune Magazine in 1989 as, “a woman who is a decade or two younger than her husband, sometimes several inches taller, beautiful, and very often accomplished” (Friedman, par. 11). For the average man, attaining a woman like this seems impossible. Getting a woman extremely out of his league would be a massive achievement and elevate the man’s status.

This pursuit becomes the goal for Gennarino, a communist, Sicilian deckhand who gets trapped on a deserted island with a beautiful, wealthy woman in Lena Wertmüller’s film, Swept Away. The object of Gennarino’s desires, Rafaella, comes from a life of leisure and luxury as opposed to his lower class background. When stowed away on the island, Gennarino abuses and assaults Rafaella multiple times in an attempt to make her want him as a potential partner. He does not do this out of love, however, as he, like many lower-class men, wants her as an object to boost his prestige. Obtaining her affection is nothing more than a way to increase his confidence and status rather than pursuing her for love.

At the beginning of the film, Gennarino is a servant to Rafaella and her husband while on their yacht. She bosses around Gennarino while she and her rich friends lounge, swim, and eat on the deck of the boat. Rafaella has complete agency over the deckhand, at this point, and does not consider him to be anywhere near as impressive as her own wealthy, intellectual husband. Gennarino complains about Rafaella behind her back, irritated by the fact that a rich woman has the audacity to boss him around, and there is nothing he can do about it (Wertmüller, 00:08:50). He loathes the pretentious, political conversations Rafaella has with her husband and shows no fondness towards her whatsoever, since she represents something he knows he can never attain.

There is a change of power, however, once the two are swept away to an abandoned island in the middle of the Mediterranean Sea. Gennarino finds himself in power since he is the only one who knows how to perform manual labor and feed himself. Whenever Rafaella demands help, he rejects her and forces her to do demeaning tasks to earn her food. He is able to get away with things he would never have been able to do had they still been on the yacht, such as forcing Rafaella to clean his pants (Wertmüller, 00:53:00) and kiss his hand (Wertmüller, 1:00:51). Although these are traditionally flirtatious actions, Gennarino’s demand for such actions comes off as him getting Rafaella to no longer consider him as a servant but rather a master. He wants her to feel the way he felt when she was bossing him around on the boat, such as when she complained about his pasta not being edible for her (Wertmüller, 00:12:32). He does, however, eventually go on even further than the point of just getting back at her for the mistreatment. Anna Rudegeair compares Gennarino’s taming of Rafaella to be resonant of Katherine in The Taming of the Shrew. Both Katherine and Rafaella are considered challenges for their male counterparts to pursue, with love and power being the prizes at the finish line. Petruchio, Kate’s partner, “insistently flatters and threatens Kate despite her protests” (Rudegeair, par. 3). Petruchio tries to tame Kate for the purpose of winning her affection while Gennarino just wants to make Rafaella his subordinate and elevate his status by getting her to do demeaning tasks.

Gennarino’s poor treatment of Rafaella is out of frustration since she represents everything he detests about upper society. While he beats her, he screams, “that’s for causing inflation and not paying taxes and hoarding your money in Swiss banks instead… That’s for the hospitals where the poor can’t even get in… That’s for raising the prices of meat and cheese” (Wertmüller, 1:09:18). By putting her in her place, he is able to gain revenge for the lower class and feel successful in his status as a man by dominating her. There is a purpose to this domination, however, as it not only allows for Gennarino to get revenge for his lower class but also get Rafaella to look at him as a macho man rather than just a lowly deckhand.

He continuously beats Rafaella like a broken toy to the point of submission so that she wants him more than her wealthy husband. In normal circumstances, Rafaella would never bat an eye at Gennarino. On this isolated island, he finally has the opportunity to express his masculinity and dominance without any repercussions. He believes that breaking her down to the point where she sees how much bravado he has will show Rafaella that just because he is some poor Sicilian deckhand does not mean he cannot satisfy her. He is trying to prove that he is more competent and masculine than her wealthy Milanese husband. Earning her affection would boost his confidence and show the world that he is capable of wooing one of the most unattainable and untouchable women in the world.

Gennarino is trying to add another trophy to his collection, and he is aiming for the most difficult trophy in all of Italy. She presents a challenge to Gennarino because she is the kind of woman someone like him would never be able to have. Turning her into a quasi-trophy wife would allow Gennarino to feel that “he has been able to snag, in a sense, a spouse or a wife that other men are envious of” (Friedman, par. 26). No one amongst Rafaella’s rich socialite friends would be able to imagine her with someone as grimy and plain as Gennarino, which only further motivates him to get her to fall in love with him. She is unlike his ordinary Sicilian wife back home because Rafaella is “highly educated, self-assured and able to hold her own financially.  She’s also not afraid to intimidate any male” (Houghton, par. 7). These are qualities that modern day men search for when hunting for their trophy wives; they do not want just some plain Jane who does whatever he wants.

Women such as Amal Clooney, Michelle Obama, and Melinda Gates are like Rafaella in their elite status amongst society, intelligence, and ability to speak their minds. Rafaella’s verbal skills become apparent in her debate with her husband and his friends about the legality of abortion (Wertmüller, 00:04:18). She is able to carry any intellectual conversation and defend her opinion without any worry (that is, until Gennarino starts chasing her across the island). Dr. Dion Metzger, a psychiatrist and expert in couples therapy, states that “powerful men [search] for a trophy wife to accompany their wealth and prosperity” (Dixon, par. 4). On the island, Gennarino finally gets to be the “powerful man” (finally something prosperous for him) and claim Rafaella as his. The reaction he would receive back in Italy should they remain together would flabbergast his and Rafaella’s family and friends. The pursuit of Rafaella as a personal trophy serves as a way for Gennarino to exert agency over her. She represents everything Gennarino could never attain. Assaulting her and getting her to refer to him as her “master” would prove to him that he is as valuable and capable as all the elites who Rafaella associates with (Wertmüller, 00:59:44). The island is the only place on Earth where the tables are turned and she is found begging to be with him. 

Leaving the island together was supposed to be the final test to prove to the aristocrats of Italy that he is just as masculine and desirable as they are by returning home with Rafaella. He calls this the “ultimate proof” to have her show how much she wants him (Wertmüller, 1:37:58). The journey home would be the official confirmation for Gennarino that he is as good, if not better, than the elite men that Rafaella surrounds herself with. She is simply a tool for him to show the world how much of a masculine, domineering man he is. For Gennarino, having Rafaella tell her husband she prefers the Sicilian deckhand rather than her wealthy husband would be the ultimate middle finger to the upper-class folk he has been oppressed by for so long. It would put him on equal footing with the wealthy men who treated him poorly in the past.

Rafaella has the opportunity to give Gennarino the validation he craves should she leave her husband for him, but she rejects him in the end. This rejection denies Gennarino of the satisfaction and power he would have received if she chose to stay with him. Love was never the end game for Gennarino – it was all about leveling his status with the wealthy elites that have mistreated him for so long. It is understandable to empathize with him for wanting to get back at the upper class, but Gennarino’s conquest of Rafaella as the hunt for the most valuable trophy around is all for his own selfish reasons.

Works Cited

Dixon, Carole. “The Modern Day Trophy Wife Is All About Goals, Not Gold.” Bravo TV Official Site, 13 Oct. 2016, www.bravotv.com/blogs/the-modern-day-trophy-wife-is-all-about-goals-not-gold. Accessed 1 Apr. 2019.

Friedman, Emily. “Blond and Beautiful? What Really Makes a 'Trophy Wife'.” ABC News, ABC News Network, abcnews.go.com/US/story?id=3372209&page=1. Accessed 1 Apr. 2019.

Houghton, Kristen. “The New Trophy Wife.” HuffPost, HuffPost, 25 Jan. 2015, www.huffpost.com/entry/the-new-trophy-wife_b_6207364. Accessed 1 Apr. 2019.

Rudegeair, Anna. “The Same Old Story: Tamed Women and Their Misogynistic Counterparts.” Blogspot. N.p. 28 Feb. 2018, http://giantstepspress.blogspot.com/2018/02/the-same-old-story-tamed-women-and.html. Accessed 1 Apr. 2019.

Wertmüller, Lena (Dir.). Swept Away. Perf. Giancarlo Giannini and Mariangela Melato. Romano Cardarelli, 1974. Film. Accessed 1 Apr. 2019.

The Delicate Art of Communication by Ashley Orellana-Melendez

It is truly a beautiful thing to feel understood. As social creatures we crave this kind of companionship; it is in our nature. We are most comfortable in environments in which we can share our ideas, values, and beliefs with others free of the fear of being oppressed or judged. As a result, we seek out this safe haven anywhere and everywhere that we go. However, while this level of human communion is a common goal amongst our species, it is not easily attained. The problem that often arises is that we listen to react instead of listening to understand; we speak with the intent to dismiss instead of uplift. Lina Wertmuller’s Swept Away subtly hints at the breakdown of communication that has been occurring in Italian society. Through displays of both physical and verbal abuse, Wertmuller ably proclaims the lack of understanding as the root of sociopolitical turmoil. This film shows that communication is one of the most powerful weapons in our arsenals that could lead to devastation and destruction if abused.

In order to completely grasp the message that is being transmitted through Swept Away, it is vital to understand 1970’s Italy. At the time, Italy was a hotbed of social and political activism. Stark differences in the end goals of many individuals lead to the division of the country into two extremist parties, Socialists and Communists (Weston, par. 23). And while both groups were on completely opposite sides of the political spectrum, they did share one thing in common: the inability to give an inch. This impotence on their behalf opened the floodgates for violence. Bombings and shootings began to take place under guise of the greater good.  “Right and left wing extremists took arms to try to transform the Italian state according to their own visions” (Ancos, par. 4). In the midst of these countless acts of domestic terrorism, the Italian 1970s were fittingly coined with the term “Anni di Piombo,” which translates to “Years of Lead” in English. As these events continued to occur, it seemed as though compromise was unattainable, creating an atmosphere of severe animosity. 

It is evident that Wertmuller draws inspiration from the tensions that were rising in the 70s. The opening scene cleverly mirrors the hostile undertone of the Years of Lead while portraying the breakdown of communication that continuously plagues generations. Swept Away opens with a compilation of beautiful oceanic shots. The camera shifts from boats gliding along the water to families of people snorkeling and exploring caves. The scenic views are backed by an acoustic soundtrack, creating an ambience of serenity. Just as the wave of tranquility begins to set in, we become disoriented by the squabbling of Rafaella and her husband. The camera veers away from the picturesque coastline and becomes fixated on the bickering couple. The two argue over political issues such as abortion and divorce, failing to see eye to eye on these matters. It does not take long before their somewhat civil dispute turns into a full-fledged yelling contest. The husband, representing the Communist party, goes from saying “Alright, Rafaella let’s enjoy this beautiful place—please, it’s a paradise just as you said” in an attempt to diffuse the quarrel, to shouting “That is nonsense! You’re crazy, try and discuss something you know” (Wertmuller, 00:04:03). This dramatic change in tone from prudence to condescension causes viewers to feel uneasy, leaving us with the urge to pick a side in this argument. 

Not only does this scene expose viewers to a broken form of discourse, but it also reflects the communication styles that were prevalent amongst members of both the Socialist and Communist parties at the time. Rafaella, a progressive socialist, continues to push on the leftist front and shouts out to her husband, “You Communists are all the same. To conciliate the priest, you were ready to oppose passing a divorce referendum” (Wertmuller, 00: 04:15). It is clear that she has an undeniable passion for social reform; however, the way she goes about voicing this passion falls flat due to her inability to keep her feelings in check. This is known as the “attitude barrier.” It occurs when one feels strong emotions like anger or unhappiness, resulting in the halted effectiveness of communication. This barrier makes one less productive and cooperative (Vu, par. 9).  Her husband responds to her remarks angrily, saying, “Thanks to ten million Communists votes pushing the whole thing through, you’ve got divorce in Italy!” (Wertmuller, 00:04:19). Instead of recognizing the effort that the Communist party made to get divorce laws, Rafaella brushes it off and moves on to the next item on her list. She says, “Yes, that’s fine, but how about abortion? No one mentions it!” to which her husband replies, “How ignorant you are. You don’t seem to understand anything. The Communists are considering a bill right now on abortion. But you can’t mean free abortions! Now look.”  Perhaps predictably so, Rafaella retaliates with: “Free, that’s right! All abortions at no cost, or you must allow us the right to advertise contraceptives on TV.” Having had enough, the husband dismisses her and says, “Screw off; go on, Rafaella” while motioning her to leave him alone. It is important to note that the two failed to come to a consensus, as if they had learned nothing from one another. After having gone through that whole ordeal, they are both still stuck in their ways.

This short but intense interaction parallels the real-life exchanges that happened between the rival political groups of 1970s Italy, due to the fact that they were also unable to work towards a solution together (Weston, par. 18). It can be said that this scene is not exclusive to the communication, or the lack thereof, between the Socialists and Communists at the time. In a way, this small part of the film is a call to action that is still ringing in the ears of today’s generation. The only real difference, though, is that instead of debating divorce and abortion, we are struggling to come to a terms on immigration, gun laws, and so much more. The same problem remains: we fail to let go of our addiction to being right in order to effectively express our ideas. As a result, we move further and further away from compromise and closer to mutual devastation.

As the plot progresses, we are introduced to a new dynamic: the interactions between Rafaella and Gennarino, an alpha Communist crew member. Starting out as an emotionally strained relationship, Rafaella demeans Gennarino in every interaction. She lets her stereotypical thoughts take control of her conversations with Gennarino. After a while, it seems as though she purposely approaches him in ways that are sure to ruffle his feathers. For example, she makes Gennarino re-cook the spaghetti to her liking. Later, she makes him change out of his shirt because it is too “sweaty” and “smells.” These bossy behaviors on Rafaella’s behalf are clear exploitations of her social power. Wertmuller portrays this class gap by keeping Rafaella and her friends on top of the boat while keeping Gennarino and the crew below. Because he is getting paid by this “rich bitch,” Gennarino cannot express his disdain towards her. Instead, his anger fills up within him for as long as they remain on the boat. We soon see how their inability to express themselves in a respectful way leads them into devastating territory.

The idea that ineffective communication largely contributes to our social troubles is further reinforced by the physical abuse that is shown once they are marooned. One afternoon, Rafaella gets the bright idea that she wants to take a swim. She not so nicely asks the captain to have one of the crew members set up a dingy so as to take her out into the ocean for her plunge. Out of pure misfortune, Gennarino was ordered to carry out the task. As he is setting up, he notices a change in the tide and tries to persuade Rafaella to reconsider her swim. A thick-headed person, she refuses to pay mind to his concerns and decides to go anyway. Rafaella’s failure to listen results in the two getting shipwrecked. 

Upon landing on a remote and deserted isle with no civilization binding them, emotions begin to run higher than before. After having had enough of Rafaella’s “bitchy” remarks, Gennarino snaps and begins to clobber her. As he strikes her, he says things like, “Now you’re going to pay for every single one of them, you ugly social democrat whore!” (Wertmuller, 01:08:15). With every beating that he administers, he associates a different hardship that he has gone through. He says, “That’s for causing inflation and not paying taxes” as he smacks her, and “That’s for raising the prices of meat and cheese, and the fares on buses and trains and the cost of gas” as he kicks her around. Here Gennarino has lost the levelheaded civility of resolving matters through discourse. He engages in violent deeds because he has exceeded his breaking point. This act of using brute force represents the fallout of violence that resulted in the Years of Lead. But in this case, instead of fighting back, Rafaella attempts to stop Gennarino from striking again by using reason. She says, “But why take it out on me? All of that isn’t my fault” (01:09: 45). Gennarino, though, continues to assault her and demand obedience. We should consider his actions as a vain means of communication that transcends its basic textbook definition. To communicate entails so much more than just speech; body language and physical signs can often say just as much, if not more, than words. 

Healthy and stimulating conversation with others is one of the principles that our society was built on. Without it, we probably would not have made it out alive of the Stone Age; it is key to our overall survival. The open forum to discuss our thoughts and ideas is the fundamental cornerstone of civilization. Swept Away shows that when we cease to communicate effectively, we open ourselves to a world of emotional and or physical hurt. It is when we flip the switch and decide to listen with the intent of understanding a fellow soul and speak with the desire to elevate that we reap the vast joys that come from the delicate art of communication.

Works Cited

Ancos. “Life in Italy 1970s to 1980s.” Life in Italy, 16 Jan. 2017.

www.lifeinitaly.com/history/life-italy-1970s-1980s.

Vu, Max. “What is effective communication?” Web.

www.maxcommunicationmotivation.weebly.com/communication-effective-vs-ineffective.html

Weston, Fred. “Italy on the Brink of Revolution- Lessons from the 70’s.” Web. 22 Sept. 2017.

www.marxist.com/italy-on-the-brink-of-revolution-lessons-from-the-70-s.htm

Wertmuller, Lina. Director, Swept Away. Performances by Mariangela Melato and Giancarlo

Giannini, Medusa Film, 1974.