2 stars because i liked some of the cinematography. Nowadays you get such effects only with the use of filters. For me Accattone was an annoying character and i will never feel sorry for a pimp. I found the film too long, the first part too loud.Some parts were really unrealistically played and they were also unrealistic.
I am struggling to find the right words to define this film. I had forgotten how much I loved cinema as a medium for human expression.This film reminded me of it again. A very rare breed of film that has few equals. I guess this is my kind of social realism with a very crude style of melodrama. Honestly, I have yet to fully understand the social and historical aspects of the mores represented in this film.
Compare this to any typical contemporary "social realist" film that screened in Berlin or Venice or Cannes in the past 10 years. What's the difference? Pasolini is uglier, meaner, angrier. He provides no sentimental bullshit. He doesn't elicit our sense of moral superiority. He is also a poet, whereas these guys are basically liberal columnists. Well, Accattone is Pasolini's first masterpiece.
3-4. The movie's biggest issue is establishing and maintaining a long-term central conflict. That being said, there are a great many wonderful evocations about the interactions between divinity and the lower/working classes, with the protagonist walking a line between the two (too good to commit to being a pimp, but too bad to work honestly) as he wounds divinity (Stella) in attempting to attain/hold on to it.
Unrelenting neorealist miserablism with stark black and white photography and featuring some strikingly 'authentic' faces. Lost me after an hour of overt catholic symbolism and on-the-nose dialogue about the irredeemable nature of the protagonist. Was meant as a gateway drug to Pasolini (120 Days of Sodom my only other film I've half-seen). But I guess I'm into neoralism with a more hopeful humanism (i.e. De Sica).
Ce premier film est le pendant cinématographique du roman de PPP "Ragazzi di vita", sur les petites frappes des faubourgs de Rome que le réalisateur affectionnait (et qui ont eu sa peau). Tous ces travellings associés à la musique de Bach donnent le tournis. On ne retrouve pas dans cette oeuvre quasi naturaliste l'aspect mystique des films réalisés par la suite. Accent romain à couper au couteau garanti!