"La Rabbia" employs documentary footage (from the 1950's) and accompanying commentary to attempt to answer the existential question, Why are our lives characterized by discontent, anguish, ... See full summary »
Near the Tiber river, in a Roman park, a prostitute was killed. The police tracks down people that were inside the park during that night. They are questioned and have to explain why they ... See full summary »
Giancarlo De Rosa,
Tommaso, giovane di borgata, per conquistare l'amore di Irene organizza una serenata che finisce in una rissa, durante la quale ferisce un uomo con un coltello. Viene arrestato e condannato... See full summary »
Enrico Maria Salerno
Two actors performing in Strindberg's "Inferno" as God and Lucifer, find themselves competing in real life as well. One of them, Henrique, has spiritual obsession with John Wayne and his ... See full summary »
João César Monteiro
Rome, 1850. In prison, two young men, Bernardino and Mamonne, condemned for murder wait their own death penalty to be executed, and pass their last hours telling each other lust and ... See full summary »
It is 1936 in Greece, shortly before the Metaxas' dictatorship. A former drug trafficker and police informer, Sofianos, is in prison because of the assassination of a trade unionist during ... See full summary »
When peasant girl Nives is deserted by smuggler Gino Lodi, she betrays him to the police. Police officer Enzo Cinti, who loves Nives, traces her to the Po River cane-fields, where she is ... See full summary »
"La Rabbia" employs documentary footage (from the 1950's) and accompanying commentary to attempt to answer the existential question, Why are our lives characterized by discontent, anguish, and fear? The film is in two completely separate parts, and the directors of these respective sections, left-wing Pier Paolo Pasolini and conservative Giovanni Guareschi, offer the viewer contrasting analyses of and prescriptions for modern society. Part I, by Pasolini, is a denunciation of the offenses of Western culture, particularly those against colonized Africa. It is at the same time a chronicle of the liberation and independence of the former African colonies, portraying these peoples as the new protagonists of the world stage, holding up Marxism as their "salvation," and suggesting that their "innocent ferocity" will be the new religion of the era. Guareschi's part, by contrast, constitutes a defense of Western civilization and a word of hope, couched in traditional Christian terms, for ... Written by
Karen Welbourn <email@example.com>
Dredfully dreary documentary on the post WWII years
Pasolini stages such a dismal representation of the world and its sufferings, that even the liberation of Cuba from the dictatorship of Batista is represented in sadness and mourning. I would have expected a bit more dept from this brilliant director. His representation of Marxism is religious to say the least. Guareschi too is disappointing, he is way too biased - he defends the atrocities of France in Vietnam and Algeria! - and his traditional sense of humor is almost absent. Some footage is quite interesting from historical point of view, but I would suggest to watch without audio, the commentator is simply too dull and rhetorical.
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