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Le Migrazioni Interne in the Grapes of Wrath E Rocco E I Suoi Fratelli

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Le Migrazioni Interne in the Grapes of Wrath E Rocco E I Suoi Fratelli DALLA ROUTE 66 AI TRENI DEL SOLE: LE MIGRAZIONI INTERNE IN THE GRAPES OF WRATH E ROCCO E I SUOI FRATELLI A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Italian Studies By Nicoletta Maria Romano, B.A. Washington, D.C. April 27, 2018 Copyright 2018 by Nicoletta Maria Romano All Rights Reserved ii DALLA ROUTE 66 AI TRENI DEL SOLE: LE MIGRAZIONI INTERNE IN THE GRAPES OF WRATH E ROCCO E I SUOI FRATELLI Nicoletta Maria Romano, B.A. Thesis Advisor: Nicoletta Pireddu, Ph.D. ABSTRACT As cultural depictions of internal migrations in their respective countries, The Grapes of Wrath and Rocco e i suoi fratelli illustrate a parallel trajectory despite two opposing and divergent historical contexts, i.e. the Great Depression of the 1930s in the United States, and the “economic boom” or “miracle” in Italy of the 1950s-60s. Perhaps the biggest point of contact between these texts is the theme of familial disintegration associated with their migration, wherein both the Joad family and the Parondi family sacrifice their unity in the name of either the community, as in the case of the former, or for assimilation in the case of the latter. With the exception of a few fleeting references found in previous scholarship, there has never been an in-depth comparative study conducted on the relationship between Steinbeck’s novel/Ford’s cinematic adaptation and Visconti’s film. Thus, my thesis aims to explore this connection, showing how these narratives are not only testimonies of their socio-historical contexts, but also of how internal southern migrants in each country were treated as “Other.” Albeit differently, these literary and cinematic texts posit a seemingly inevitable final result of migration wherein the family unit is dissolved, and historic questions and tensions of identity are evoked. In The Grapes of Wrath, the Joad family’s well-depicted journey from the Dust Bowl to the “Promised Land” of California parallels that of the pioneers in the founding myth and American tradition of the Western frontier. Yet, in Rocco e i suoi fratelli, the focus is on the family’s integration difficulties, emerging from an entrenched dichotomy between Northern and Southern Italy stemming from the country’s Unification, as argued in its famous “Southern iii Question.” Despite their contrasts, the representations of Okies in The Grapes of Wrath (both the novel and film) and terroni in Rocco e i suoi fratelli not only offer insights into the 20th century migratory phenomenon that changed their countries, but have also, through depictions of discrimination against fellow citizens, foreshadowed certain exclusionary American and Italian attitudes regarding contemporary international immigration. iv Alle mie nonne Acknowledgements First and foremost, I would like to thank Professoressa Pireddu and Professor Cicali for their invaluable guidance, vast knowledge, unwavering support, and for everything they have taught me inside and out of the classroom, ultimately showing me the kind of scholar I would like to become. I would also like to extend my gratitude to all my professors here at Georgetown, as well as during my undergraduate years at Rutgers and my semester in Bologna, for lessons imparted on me have and will stay with me. I would be remiss if I did not thank the staff at Lauinger Library for all of their help in the creation of my little home library over the course of this year, especially Dana Aronowitz, whose dedication in getting all of my ILL books made this thesis possible. I would also like to say thank you to two of my closest friends, who have listened to me vent almost endlessly and whose moral support has gotten me through the past two years: Lillie Hannon, my cheerleader in Maplewood, and Gabrielle Mirasola, my survivor buddy in this program. Last but not least, I must thank my family without whom I would not be here, and whose limitless wisdom and encouragement mean more to me than they will ever know. To thank them properly is more than I have room for here, so in short, grazie di cuore! This thesis is also partially dedicated to my mother — my rock, for she has undoubtedly made me who I am today. v INDICE CAPITOLO I: L’AMERICA DEGLI ANNI TRENTA................................................................................ 4 La Grande Depressione ............................................................................................................................. 4 Il Cinema di Hollywood .......................................................................................................................... 11 La “Tesi di Frontiera” e la Route 66 ....................................................................................................... 15 Gli Okies ................................................................................................................................................. 19 La Produzione del Romanzo "The Grapes of Wrath" ............................................................................. 21 La Produzione del Film "The Grapes of Wrath" ..................................................................................... 28 CAPITOLO II: L’ITALIA DEGLI ANNI CINQUANTA/SESSANTA .................................................... 32 La Ricostruzione Postbellica ................................................................................................................... 32 Boom Economico/ Miracolo Italiano ...................................................................................................... 36 Milano e le Migrazioni Interne ............................................................................................................... 38 L’Italia Consumistica .............................................................................................................................. 41 Il Cinema del Dopoguerra ....................................................................................................................... 48 "Il ponte della Ghisolfa" ......................................................................................................................... 51 La Produzione di "Rocco e i suoi fratelli" .............................................................................................. 54 CAPITOLO III: LE MIGRAZIONI ............................................................................................................ 65 Migrazione di Famiglia ........................................................................................................................... 65 I Joads ................................................................................................................................................. 65 I Parondi .............................................................................................................................................. 78 Percorsi Migratori ................................................................................................................................... 91 Oklahoma — California ...................................................................................................................... 91 Lucania — Milano ............................................................................................................................ 100 CAPITOLO IV: SUD-ALTERNITÀ ........................................................................................................ 108 Il Regionalismo del West ...................................................................................................................... 111 La Subcultura degli Okies ..................................................................................................................... 114 Il Regionalismo del Sud e la Questione Meridionale............................................................................ 123 CONCLUSIONE ...................................................................................................................................... 138 BIBLIOGRAFIA ...................................................................................................................................... 141 vi INTRODUZIONE Nel 1961, il giornalista Bosley Crowther pubblicò una recensione nel New York Times, sul nuovo film di Luchino Visconti, Rocco e i suoi fratelli (1960), in cui lo definì “A fine Italian film to stand alongside the American classic, The Grapes of Wrath” (“Rocco and His Brothers”). Questa sua introduzione al film rappresentò il primo riferimento tra le carenti connessioni tra le due storie, che narrarono gli effetti, attraverso la disintegrazione familiare, del fenomeno delle migrazioni interne nei rispettivi paesi, gli Stati Uniti e l’Italia, in due periodi diversi. Il capolavoro americano, prima un romanzo di John Steinbeck (1939) poi adattato cinematograficamente nel film di John Ford (1940) e la storia di Rocco, similmente ispirato ad un testo letterario, Il ponte della Ghisolfa, di Giovanni Testori (1958) offrono un quadro sulle ramificazioni personali che emanano dalle migrazioni, che nonostante siano dentro i confini della nazione, pongono delle problematiche soprattutto intrecciate con l’identità del migrante, visto come l’Altro. Entrambe le interpretazioni di The Grapes of Wrath si concentrano sui rifugiati del Dust Bowl, una zone delle Grandi Pianure che durante la Grande Depressione, fu colpita da tempeste di polvere che resero
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