On an empty road, an old man is walking with his son. They meet a crow that can speak. They are changed into monks and Saint Francois sent them to preach for hawks and sparrows. A reflexion about idealism. —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
As it happens with Fellini's "City of Women", you could easily tell the hand that crafted the film, yet it looks like it comes out from nowhere. I would call it an 'unicum' in the Italian Cinema. Superb image composition and storytelling skills by Pier Paolo Pasolini, and breathtaking cinematography by Mario Bernardo and Tonino Delli Colli. The genius of Totò and Ennio Morricone does the rest of it.
Fabel, marxistisch - christliches Lehrstück, Groteske und eine episodenhafte Struktur fügen sich anhand eines sprechenden Raben zu einem heiteren Arme-Leute-Film mit Helden, die am Rand von Rom durch die Gegend ziehen und im Heuhaufen ihr Bedürfnis erledigen. Was das immer im Detail bedeuten soll, ist fraglich - aber vielleicht sollte man den Film einfach so nehmen, wie er ist: als einen außergewöhnlichen Pasolini.
Stranissimo,surreale,ma affascinante e profetico;quasi privo di sceneggiatura, è un lavoro unicamente di concetto:la forma metaforica e favolistica del film rappresenta un'Italia che cambia,in cui le ideologie si sfaldano per lasciare posto all'unica volontà popolare:la ricerca ossessiva del benessere.Pasolini,nel 66, capisce che tutti aspirano a diventare borghesi e i ceti sociali si stanno uniformando,in peggio.4*