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Critics reviews
The Gospel According to St. Matthew
Pier Paolo Pasolini France, 1964
The affliction of Accatone, the pietàs of Mamma Roma, La Ricotta’s astringent vaudeville, all set-up for Pier Paolo Pasolini’s illumination of il Vangelo as a vérité interplay of radicals. The nonbeliever’s paradoxical “nostalgia for faith” exalts quotidian mysteries, the Holy Land is right there on Mediterranean shores, lumpy Basilicata peasants populate the pageantry.
April 06, 2015
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Now and again I watch a movie that doesn’t allow itself to be “just” a movie. And maybe it’s a film that’s nearly fifty years old, alluringly freed from market pressures, but still so incredibly current and relevant that it won’t let go… insisting on being understood through language, and thereby undeniably elevating itself into the so-called seventh art by the sheer force of creative, competent will. Pier Paolo Pasolini’s The Gospel According to Saint Matthew is one such film.
October 22, 2013
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Eclectic, albeit carefully chosen soundtrack selections emphasise the geographic and temporal reach of the material, as Bach’s ‘Mass In B Minor’ segues into Odetta’s wailing blues number ‘Sometimes I Feel Like A Motherless Child’ and the film even opens with Congolese tribal music. It’s a small but piercing touch, reminding the viewer that we can’t consider the biography of Christ without taking into account the specific time and place in which the events purportedly occurred.
February 28, 2013
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THE GOSPEL ACCORDING TO ST. MATTHEW is a great, yet atypical, protest film from the 1960s, telling a story about the origin of faith not only in God, but also in humanity and why it continues to exist.
July 29, 2011
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Shot in southern Italy with a nonprofessional cast, and powerfully using both classical music and blues, this highly political interpretation of the passion is as scandalous in its own way as Mel Gibson’s but more poetic, more contemporary in its impact, and more serious in its overall morality.
April 16, 2004
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Gradually, the film capitulates to the conventional reverences surrounding the Christ story. One’s interest has to shift to the aesthetic level rather than the spiritual one, and consider each of the various episodes as a challenge to which Pasolini responds—always intelligently, but with varying success.
June 01, 1967
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