Double the Seduction, Double the Heartache: an analysis of the parallelism between two incidences of seduction in the film
Mimi and Fiore
Mimi’s seductions of Fiore and Amalia in this film are two very contrasting processes. While there are a few surface similarities that both seductions share, they are far more different in terms of feeling, strategy and motivation, amongst other aspects.
The seductions of both women are similar in that there is a lot of friction between man and woman. Mimi’s Southern upbringing and rough approach to passion clash with Fiore’s emancipated, Northern view of love as something that must be perfect and infused with real feeling. This conflict is exemplified in the couple’s first kiss in the park, where Fiore is shocked by Mimi’s unrefined conduct and refuses to see him again. In Amalia’s case, she offers verbal retaliation in response to Mimi’s initial advances, calling him a “lecher” and telling him to “go away”. Later on, she resists him physically when he tries to perform the actual act of copulation with her; she struggles and screams at him while he restrains her.
Another similarity between the two seductions is that both women are in positions of power. In Fiore’s case, Mimi is so consumed by his love for her that he gives up his backward Sicilian ways and tries to woo her according to her rules. Her hold over his feelings is so great that he actually breaks down when she confesses her love, moved to the point of temporary impotency. Furthermore, their relationship is established on her terms: he is to sleep with no other woman, not even his wife. Such is the extent of her power. As for Amalia, the power she has over Mimi is not emotional, but she is the all-important vessel for his revenge, and he has to follow her orders, making love to her in accordance to her ovulation cycles.
Mimi and Amalia
However, this is where the similarity ends. With regard to the emotional nature of each seduction, there is a great disparity between both. Mimi is deeply in love with Fiore, almost to the point of obsession. His feelings are sincere and heartfelt. In fact, his love is so true that it affects his sexual performance initially, as he is not used to having sex when real feelings are involved. On the other hand, Mimi harbors absolutely no romantic feelings for Amalia; his obsession with seducing her stems only from his need for revenge against Amilcare. His professions of passion (“You drive me crazy”, “Those fiery eyes!”) are flat and insincere, adopting a clichéd seductive tone instead of the earnest, longing tone he uses for Fiore.
There is also a disparity in terms of Mimi’s different approaches to seduction. Mimi exhibits patience in his courtship of Fiore, trying time after time to woo her during walks in the park. He is willing to restrain his passion for the sake of winning her love, at the same time giving her time to consider her feelings. However, when seducing Amalia he dogs her every step, constantly asking her “where and when” they can have a rendezvous. His incessant pursuit lasts only two days as she caves relatively quickly.
Lastly, the motivations behind Mimi’s seductions differ greatly as well. Mimi’s pursuit of Fiore is driven by his sincere love for her, while the force behind his seduction of Amalia is simply revenge and nothing else.
The two seductions serve to contrast one another, as well as subtly show how Mimi changes during the film. Fiore’s seduction takes place near the beginning, where Mimi is taking steps to “become his own man”, emancipating himself from his Southern upbringing. This change is reflected in his new, civilized approach towards courtship. However, Mimi’s seduction of Amalia towards the end of the film brings him back to step one, casting him once again as the traditional Sicilian man bent on rescuing his honor, albeit with a modern twist. His sexual strategy reverts back to one of aggressiveness and violence. The very fact that these two seductions are different from each other is significant in itself; the contrast between them serves to highlight how Mimi learns to be more civilized in Fiore’s case, and how he goes back to primitive Southern standards in Amalia’s case. The concluding message is one of futility and resistance to change.
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