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Accattone (1961) More at IMDbPro »

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Release Date:
4 April 1968 (USA) See more »
A pimp with no other means to provide for himself finds his life spiraling out of control when his prostitute is sent to prison. Full summary » | Add synopsis »
Plot Keywords:
Nominated for BAFTA Film Award. Another 2 wins & 2 nominations See more »
(19 articles)
User Reviews:
Pasolini's Roma. See more (20 total) »


  (in credits order) (complete, awaiting verification)

Franco Citti ... Vittorio "Accattone" Cataldi
Franca Pasut ... Stella
Silvana Corsini ... Maddalena
Paola Guidi ... Ascenza

Adriana Asti ... Amore
Luciano Conti ... Il Moicano
Luciano Gonini ... Piede D'Oro
Renato Capogna ... Renato
Alfredo Leggi ... Papo Hirmedo
Galeazzo Riccardi ... Cipolla
Leonardo Muraglia ... Mammoletto
Giuseppe Ristagno ... Peppe
Roberto Giovannoni ... The German
Mario Cipriani ... Balilla
Roberto Scaringella ... Cartagine
Silvio Citti ... Sabino
Giovanni Orgitano ... Scucchia
Piero Morgia ... Pio
Umberto Bevilacqua ... Salvatore
Franco Bevilacqua ... Franco
Amerigo Bevilacqua ... Amerigo
Sergio Fioravanti ... Gennarino
Adele Cambria ... Nannina
Adriano Mazzelli ... Amore's client
Mario Castiglione ... Mario
Dino Frondi ... Dino
Tommaso Nuovo ... Tommaso
Romolo Orazi ... Father-in-law
Massimo Cacciafeste ... Brother-in-law
Francesco Orazi
Mario Guerani ... Il commissario
Stefano D'Arrigo ... Il giudice istruttore
Enrico Fioravanti ... Agente
Nino Russo ... Agente (as Enrico Russo)
Edgardo Siroli ... Farlocchio
Renato Terra ... Farlocchio
Emanuele Di Bari ... Sor Pietro
Franco Marucci ... Accattone's Friend
Carlo Sardoni ... Accattone's Friend
Adriana Moneta ... Margheritona
Polidor ... Becchino
Danilo Alleva ... Iaio
Sergio Citti ... Waiter
Elsa Morante ... A prisoner
rest of cast listed alphabetically:
Gabriele Baldini ... Intellectual (uncredited)
Franco Venditti ... Boy (uncredited)

Directed by
Pier Paolo Pasolini 
Writing credits
Pier Paolo Pasolini (story)

Pier Paolo Pasolini (screenplay)

Sergio Citti (additional dialogue)

Produced by
Alfredo Bini .... producer
Cino Del Duca .... producer
Cinematography by
Tonino Delli Colli 
Film Editing by
Nino Baragli 
Production Design by
Flavio Mogherini 
Set Decoration by
Gino Lazzari 
Production Management
Marcello Bollero .... production manager
Eliseo Boschi .... production supervisor
Second Unit Director or Assistant Director
Leopoldo Savona .... assistant director
Sound Department
Manlio Magara .... boom operator
Luigi Puri .... sound
Antonio Catalano .... sound restoration: Italian (uncredited)
Camera and Electrical Department
Franco Delli Colli .... camera operator
Gioacchino Sofia .... assistant camera
Music Department
Carlo Rustichelli .... musical director
Other crew
Bernardo Bertolucci .... production assistant
Lina D'Amico .... script supervisor
Herman G. Weinberg .... re-release English subtitles
Paolo Ferrari .... voice dubbing: Franco Citti (uncredited)
Isabel Mulá .... intern (uncredited)
Deddi Savagnone .... voice dubbing: Franca Pasut (uncredited)
Luisella Visconti .... voice dubbing: Adriana Asti (uncredited)
Monica Vitti .... voice dubbing: Paola Guidi (uncredited)
Ileana Zezza .... voice dubbing: Silvana Corsini (uncredited)
Crew believed to be complete

Production CompaniesDistributors

Additional Details

Also Known As:
"Accattone!" - USA
"The Scrounger" - USA (informal English title)
See more »
120 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Argentina:16 | Finland:K-16 | Italy:VM16 (original rating) | Italy:T (re-rating) (2008) | Italy:VM14 (re-rating) (1972) | Netherlands:18 (orginal rating) | Portugal:M/12 | Spain:13 | UK:15 | UK:X (original rating) | West Germany:18 (f)

Did You Know?

Pier Paolo Pasolini's directing debut.See more »
Poilceman:Don't even try to escape, we know who you are.See more »
Movie Connections:
St Matthew PassionSee more »


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62 out of 73 people found the following review useful.
Pasolini's Roma., 10 June 2005
Author: aliasanythingyouwant from United States

Accattone is a Neo-Realist examination of slovenly irresponsibility, tastelessness and self-pity - you know, the fun stuff. Its principal characters, a group of young upwardly-immobile Roman males, are almost uniformly repulsive, a lot of chest-baring half-savages whose idea of fun is luring a whore to a deserted spot and beating her to within an inch of her life. Its hero, Accattone, is played by one of the more unpleasant actors in the history of film, a fellow named Franco Citti, who manages to single-handedly set the entire nation of Italy back about two-hundred years. It is a film of almost relentless despair, depicting a Rome so desolate and squalid, so bereft of hope, that it seems almost medieval. In the hands of almost any director the movie would be unbearable - either unbearably sentimental or unbearably grim - but with Pasolini at the helm it is merely honest.

It isn't Pasolini's best film by a long way, but it may be the clearest example of what made the director so special - his ability to probe around the most revolting recesses of the human condition without seeming sensationalistic, exploitive or crass. It would be easy to go one of two directions with a character like Accattone, a lazy two-bit pimp with a son by a woman who wants nothing to do with him: the sentimental route or the grotesque. One could easily imagine De Sica, the soft-heart of Neo-Realism, turning Accattone into a sympathetic, misunderstood Everyman. And one could just as easily imagine Fellini, the most uptight director maybe in history, transforming the character into a universal symbol of societal decay. Pasolini, neither a sentimentalist nor a moralist, sees Accattone not as a sympathetic character nor as a symbol. The least judgmental director maybe ever, Pasolini conceives his characters entirely in terms of their outward behavior, and not in moral terms. He neither psycho-analyzes nor seeks to "understand" his characters. He simply presents them as they are, warts and all.

It was always the purpose of Neo-Realism to present life as it was lived, not life as it was imagined by screenwriters, directors and actors, and there are few more successful ventures in this regard than Accattone. The film's main triumph is in its atmosphere. The Roman days have never seemed so sun-bleached, so arid and oppressive; its nights never so mysterious, so full of inexpressible longing (not even in Henry James). The characters seem bound to this world in a palpable way, their faces (shot by expert cinematographer Tonino Delli Colli) mirroring the desolation, the hopelessness, the strangeness of their surroundings. The movie's physicality, as always with Pasolini, is striking. But pure physical vigor, pure atmosphere isn't enough. Where Pasolini comes up short is in assembling the parts of his film into something with real emotional breadth. His first feature shows him already on his way to being a master of the image, but also shows that he had a lot to learn about being a master of cinematic rhythm. The strange blend of primitivism and modernism is already there but the command is not. It's a film that works well in the moment but feels thin as a whole. It's a triumph of Neo-Realist technique but it only half-succeeds as a film.

Half-successful Pasolini is still better than the best most directors have to give. If you can portray a character as repulsive, as boorish and ego-maniacal as Accattone - a character with few if any redeeming features - for two hours without alienating your audience...well, chalk one up for the director who can do that. Especially one who manages the trick without resorting to sentimental contrivance or the kind of false significance people like Fellini always tried to drum up by filling their movies with obvious symbols, the sorts of things art-film zombies love because it gives them a chance to show their alleged smarts. Pasolini never flatters his audience but he never sneers at them either. He attempts to neither ingratiate himself with the public nor antagonize it in the manner of certain self-important avant-gardists. The best artists look for what interests them in a piece of material, not worrying whether their ideas, their approach, their style is accessible to the public at large, or critics, or scholars, or their grandmothers or anyone else. Accattone shows Pasolini on the road that would make him one of cinema's best directors - a road traveled by precisely one person, Pasolini himself.

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Accatone is INCREDIBLE Ninfica
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116 min. version ??? fluffhead34
Accattone's end resembles Michel Poiccard's from bout de souffle natsnock
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