After a week of thought, I think this movie truly deserves a 5 star rather than a 4. Accattone is the modern man, the failed or missunderstood "artist", an anarhist by nature which tries to adapt and survive in a harsh society by his own laws. An attitude that is blamed by the rest and leads only to a tragic end.
A rather auspicious and incredibly sharp debut by Pasolini. It is worth noting that the film is far from being a sentimental account as many people seem to consider it that way, this is the work of a perpetually cold intellectual and as such we can find a great deal of insight about the lifestyles, contradictions and conflicts of the people living in the italian slums. An alternative to the usual neorealism.
Pasolini of this era seems like a 20th century Caravaggio. He painted thugs and took out sacred icons from them. Though he claimed himself a Marxist, he rooted deeply in mythic Cathoric world. And this mythic power and his love and desire for the poverished but rigolous guys give his works so out of worldly beauty. One of his master pieces!
Accattone is a real asshole that is difficult to feel any kind of sympathy or empathy for. This hurt the film in my point of view. Although people claim we are not meant to sympathise him, and just view his reality 'as it is', there is an element of tragic grandeur that Pasolini is going for that doesn't work for me. Some of the acting is bad too, and overall, i think Pasolini went on to greater things.
Pocas veces he visto retratado el tema de la pobreza con tanta honestidad, poesía y cariño. Pasolini se muestra cómplice y fraternal con sus personajes más allá de sus vilezas. Impagables las escenas donde las risas emergen en el medio de la miseria(la espera durante la preparación de la pasta, los chistes en vísperas del robo de comida). Accatone es un personaje entrañable, al que amamos a pesar de sus bajezas.
Perhaps the greatest debut in cinematic history. At last one connotates the sarced and the profane. It is not a neo-realist film, as some not understanding the film might suggest, but rather, a religous and existantial one. Pasolini is not intent on de-mythifying and de-sacralising but rather on “re-sacralising” human existence even if this means a re-evocation of the primordial links between violence and the sacred, the dark root of all sacrificial religions as well as the basis of the Greek idea of tragedy.