Abstract

This essay explores Raffaello Matarazzo's film adaptation of Guai ai vinti (1955) and provides an accurate comparison between Annie Vivanti's writing and the film choices. The film maintains the main elements of Vivanti's plot, but decidedly strays away from it when it comes to war rape, maternity and abortion. In particular, Matarazzo (deliberately) leaves out the physical and earthly dimension of motherhood in favour of a more spiritual and Marian representation. The maternal body of the protagonist, narrated by Vivanti with an intimate and carnal mood, in the movie is totally transfigured and made elusive, mostly in the final death that was deliberately added to the film.