Pasolini’s first film is a painfully realistic study of a pimp in Rome. Vittorio Accattone has never worked a day in his life, and has apparently made a good living prostituting his female companion, Maddalena. But her arrest begins his decline; hungry, he begs from churches and even visits his estranged wife and son. When Stella, a lovely and unbelievably innocent peasant worker, enters his life, Accattone tries to find a way, honest or not, to bring back good fortune. —IMDb
Born in Bologna in 1922, Pier Paolo Pasolini left behind a searing legacy that haunts contemporary Italy more than thirty years after his death. More than anyone, Pasolini gazed deeply into Italy’s role in the spread of Fascism and, more controversially, the continuing influence of its ideas in post-war Europe. For him, this was a matter of great personal significance; his father was a soldier in the Fascist Army (he had once protected Mussolini from an assassination attempt) while his brother joined the resistance only to be murdered in an ambush. This personal trauma coincided with a period of intellectual development as Pasolini engaged with Marxist philosophy; especially the works of Antonio Gramsci, the founder of Italy’s Communist Party (PCI). His relationship with the PCI, however, was tense. As a poet and intellectual, Pasolini scrutinized his fellow Communists as critically as he did bourgeois society. His enemies retaliated by targeting his personal life; the first instance… read more
On the occasion of new DVDs by Criterion and a MoMA retrospective, a look at Pier Paolo Pasolini’s “Trilogy of Life” and Salò.
Remembering not only “Italy’s major post-war intellectual,” but one of the world’s as well.
Many thanks to Matthew Flanagan for pointing out the fifth issue of the multi-lingual journal La Furia Umana with its rapporto confidenziale
Friday's New Directors / New Films lineup: Laura Poitras's The Oath, Rigoberto Perezcano's Northless, Eric Mendelsohn's 3 Backyards and
Perhaps the greatest debut in cinematic history. At last one connotates the sarced and the profane. This is not a neo-realist film, as others may suggest. Pasolini is not intent on de-mythifying… read review