Two dramatic stories. In an undeterminated past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julius, the young son of a post-war German industrialist, is on the way to lie down with his farm’s pigs, because he doesn’t like human relationships.
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
A hair's breadth away from a total masterpiece. Pasolini isn't exactly a slouch behind the camera, but neither is he as aesthetically sophisticated as he needed to be here. The film works as a "vaudevillian" propulsion of ideas, and half of it is in declamatory Italian, no less.