ada the leading man is my tpye

Linbeymusol Wonderful character development!

Organnall Too much about the plot just didn't add up, the writing was bad, some of the scenes were cringey and awkward,

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

chaos-rampant What marvelous Italian sensibility! Italians have to be muted for drama, but give them comedy and they soar, it's who they are, who we are in general down South and all over the Mediterranean - boisterous, frivolous, yelling past each other out of some need to stay afloat, lest the silence bogs us down.The allegory is of course as obvious as the characters, a shrill rich wife and a grumbling sailor, a communist we're told, on board her yacht during a cruise get stranded in a deserted island. Of course the dynamics shift - we see how easy and quick it is for him to become a tyrant now that he has the upper hand, how degrading for her to be ordered about. But then sex enters the picture and that changes everything; she's beaten around, almost raped and comes to love the submission. As thin as the politics may be, so much more subversive when it becomes sexual. Rape fantasies are common in men and women alike, no reason to hide, and nothing peculiar about it - sex is after all in a primal way about the swap of power. But here just as about the fantasy is about to be consummated, at the peak of sexual paroxysm, this is the moment the filmmaker chose to have the man pull back and be revealed a delusional fool - she must cherish him as her god and so on.The question that looms, a deep deep one, is was it the island? Or is it civilization that obscures? Which of the two shows their true self? Eventually they bond as lovers, but that is based on everything else we've seen. Do the limits imposed by being seen and known in public lead into delusions of self? Or does uninhibited freedom? Was it true love or was it a simple desire that found no limits to run up against? Who's to make all these impositions of truth anyway?And we have to counterpoint all this against the richness of how they hold themselves in each other's eyes, some of the most expressive eyes in film - it's perfectly cast anyway, but the eyeplay between the two is marvelous, starting from that moment they share on the deck one night.So this is fascinating stuff, about limits of self, about a slippery passion and having no logical truth that can explain beyond it, the only thing it asks is that you don't be moral about it. I can only imagine it better in Pasolini's hands, this lover of textures and breezes of air.

w-chisholm There have been many imitations of this comic scenario and its theme but none so excellently staged and acted. There is a fierce struggle between our hero and our heroine when they are first swept away and marooned on an uninhabited though not entirely unlivable island but only after their characters are set forth in splendid detail (with no wasted motions); though we can guess how it will turn out -- sure enough the brute overwhelms the fair maiden (?) and sure enough the two of them "fall in love" and promise to live out their lives together blissfully. But sure enough, reality overtakes them after they are rescued and macho man returns as does the spoiled "lady." A classy beginning, a very strong middle, and an inevitable ending. Bravo

tedg Spoilers herein.There is art that is intelligent, and intelligent things that are artistic. When you try the latter, you really have to be intelligent though. This film attempts that.Unfortunately, it rests on banal insights and sophomoric ideas. This is not just a film whose time has passed. I saw this when it was new and it was childishly naive and dim then.I have several Italian friends who have learned to live with the lack of political and societal sophistication that has become embedded in the national consciousness. But even they cringe when confronted with this. Yes, context matters. Yes, eroticism is essentially political. Yes, violence is cinematic. All this in the story argues against the form of the film.She should have known that few contexts of viewers would allow this to work. She should have known that politics is not essentially erotic. She should have known that personal violence and submission is thin stuff when it comes to weaving a truth.Ted's Evaluation -- 1 of 4: You can find something better to do with this part of your life.

zetes A film that's exceedingly difficult to pin down. It would be easy to dismiss it, but it's just as easy to be startled and amazed by it. The story's simple enough: a shaggy, dark-skinned man (played by Giancarlo Gianni) works under the thumb of the bourgoisie on a hired yacht. He despises them, and they despise him. One of these rich people is particularly annoying, a blonde woman (Mariangelo Melato), who spends her days incessantly bitching, spouting capitalist slogans, and putting down the servant class. These two characters, not surprisingly, end up together on a dinghy whose motor has broken. She never shuts up, he stares at her murderously. They eventually land on a deserted island, where he refuses to help her whatsoever. She eventually has to submit to whatever abuses he chooses to dish out. Yes, that does include physical and eventually a near-rape, which will certainly disgust and upset a lot of the film's audience. The film can actually be sort of perverse. I'm sure many have marvelled that, with some of the film's crueller scenes, the film was directed by a woman. It is actually, in its way, nearly as perverse at some times as The Night Porter, directed in the very same year in Italy, also by a woman. That film's merits are more dubious than Swept Away's, however. The film is unexpectedly hilarious, at least for the first forty-five minutes or so. When the abuse starts, the film begins to shift to a social issues picture. Class issues are important, as well as racial issues (which kind of amount to the same thing). I didn't mind seeing the woman verbally abused - she spent the first forty-five minutes doing the same to the guy. The smackings she receives were hard for even me to take, however. The politics are nevertheless exceedingly interesting. The film has some very good material on the social constructions of class. After this section of the film, the story shifts to erotica, and it is very erotic at times. In this section, the film is a direct descendent of Bertolucci's Last Tango in Paris (as was The Night Porter, incidentally). After that, the film shifts once again to romantic melodrama, as the two are rescued. The man makes the decision to signal a yacht that he sees in the distance simply because he wants to test the deep love that the woman swears by. These shifts in narrative can be clearly felt, like upshifting in a manual transmission vehicle, but it works rather well. I was always right with the film with its emotions (although it took me a good twenty minutes to get into the film). I ended up rather loving it, despite its flaws. Now I actually want to see the Madonna version to see how bad that hack Guy Ritchie screwed it up. At one point in the film the man tells the woman that she looks like the Madonna. Pretty funny, no? 9/10.