7.5/10
856
8 user 16 critic

Comizi d'amore (1964)

Microphone in hand, Pier Paolo Pasolini asks Italians to talk about sex: he asks children where babies come from, young and old women if they are men's equals, men and women if a woman's ... See full summary »
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Cast

Credited cast:
...
Himself - Interviewer
Lello Bersani ...
Speaker (voice)
Rest of cast listed alphabetically:
Io Apolloni
Ignazio Buttitta ...
Himself
Adele Cambria ...
Herself
Camilla Cederna ...
Herself
Graziella Chiarcossi ...
The Bride
...
Himself
Oriana Fallaci ...
Herself
Graziella Granata ...
Herself
...
Herself
...
Himself
Cesare Musatti ...
Himself
Giuseppe Ungaretti ...
Himself
Edit

Storyline

Microphone in hand, Pier Paolo Pasolini asks Italians to talk about sex: he asks children where babies come from, young and old women if they are men's equals, men and women if a woman's virginity matters, how they view homosexuals, how sex and honor connect, if divorce should be legal, and if they support closing the brothels (the Merlina Act). He periodically checks in with Alberto Moravia and Cesare Musatti. Bersani is intrusive and judgemental, prodding those who answer. The film's thesis: despite the booming post-war economy, Italians' attitudes toward sex are either rigidly Medieval (the poor and the South) or muddled and self-censoring (the bourgeoisie and the North). Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Documentary

Certificate:

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Details

Country:

Language:

Release Date:

23 July 1982 (West Germany)  »

Also Known As:

Assembly of Love  »

Filming Locations:

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Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.85 : 1
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Connections

Referenced in Le droit au baiser (2014) See more »

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User Reviews

 
A Disappointing Pasolini Feature

I must admit, my anticipation for Love Meetings was exceedingly great. Being familiar with Pasolini's other works, his use of prostitution, sexual situations and perversities as a drive in his filmmaking and writing, I eagerly awaited the viewing of this documentary on the Italian view of sex in the 1960s. However, the film turned out to be fairly disappointing. Rather than focus on the underside of Italian life that Pasolini is so accustomed to, he rather relies upon asking tiresome questions concerning unwed couples and love's purpose in a relationship, spending little time dealing with homosexuality and prostitution. Although Pasolini does present a wide-ranging view of Italy's attitudes towards sex, from the poor Southern farmer to the Northern elitist to the intellectual, his lack of material and interviews on the truly interesting aspects of Italian sexual life presents a somewhat interesting, albeit dated and flawed, picture.


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