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The Hawks and the Sparrows (1966)
"Uccellacci e uccellini" (original title)

Unrated  |   |  Comedy, Drama  |  4 May 1966 (Italy)
7.5
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Ratings: 7.5/10 from 2,543 users  
Reviews: 17 user | 25 critic

An old man and his son are walking along the road when they suddenly meet a speaking crow, which represents Marxist beliefs. They are soon moved back 750 years in time, changed into monks ... See full summary »

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(screenplay), (screenplay), 1 more credit »
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Title: The Hawks and the Sparrows (1966)

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Cast

Cast overview, first billed only:
...
Innocenti Totò / Brother Cicillo
...
Innocenti Ninetto / Brother Ninetto (as Davoli Ninetto)
Femi Benussi ...
Luna
Umberto Bevilacqua ...
Incensurato
Renato Capogna ...
Scoundrels Leader
Flaminia Siciliano ...
Scoundrel
Pietro Davoli ...
Scoundrel
Rosina Moroni ...
Poor Cottage Owner
Lena Lin Solaro ...
Urganda
Gabriele Baldini ...
Dante's Dentist
Ricardo Redi ...
Mansion Owner
Rossana Di Rocco ...
Ninetto's Girlfriend
Alfredo Leggi
Renato Montalbano
Giovanni Tarallo ...
Starving Peasant
Edit

Storyline

An old man and his son are walking along the road when they suddenly meet a speaking crow, which represents Marxist beliefs. They are soon moved back 750 years in time, changed into monks and sent by St. Francis to convert the hawks and the sparrows to Christianity. Written by Yepok

Plot Summary | Add Synopsis

Taglines:

An off-beat comedy about serious matters by PIER PAOLO PASOLINI. See more »

Genres:

Comedy | Drama

Certificate:

Unrated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

4 May 1966 (Italy)  »

Also Known As:

The Hawks and the Sparrows  »

Filming Locations:

 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

On 14th February 1988, actress Laura Betti introduced a reconstructed version of the film at the Berlin Film Festival. That version contained a short episode with Totò called "Toto al circo", which was not included in the original release. Although director Pier Paolo Pasolini had spoken about his work on it, this episode had never been shown to the public before. See more »

Crazy Credits

The opening credits are performed as a song. See more »

Connections

Referenced in The Vesuvians (1997) See more »

Soundtracks

Nidi Di Rondine
Composed by Ennio Morricone
See more »

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User Reviews

 
The Birds according to Pasolini
18 July 2006 | by (New York) – See all my reviews

A picaresque approach by a master of the Italian cinema resulted in this personal and different film by Pier Paolo Pasolini. The director, who wrote and produced this picture, was in great form in this story that is more like a fable, deliciously acted by Toto and Ninetto Davoli, one of the best pairings in Pasolini's movies.

The film is, in many aspects, a road movie. From the beginning, we watch as Toto and Ninetto take to the road in their trip to nowhere, it seems, but a trip which permits Pasolini examine some of the things that obsessed him, mainly his dislike for organized religion, as he perceived it in his country, as it clashed with reality. He takes the life of Saint Francis and the story about his relationship with the birds as the main topic for the movie.

It's hard to add anything else to what already has been said by the valuable contributions to IMDb. This film is one of the most inspired by the director. In it, he doesn't pound on the viewer's head those things that were dear to him. In fact, the film has a whimsical touch as we follow the two travelers, Toto and Ninetto, through rural Italy as a raven keeps telling them stories.

Toto is perfect as the older man who is living in his own world and doesn't see the changes around him. Ninetto Davoli gives a great performance as the happy go lucky son. Their surname, is Innocenti, or Innocent, which in a way, fits their characters rather well.

The black and white cinematography by Mario Bernardo and Tonino Delli Colli works wonders for the film. Ennio Morricone's musical score also enhances all that one sees on the screen. This is a light Passolini, but one that delves deep into the subjects that were so dear to the director's heart.


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