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

 -  Comedy | History  -  4 May 1966 (Italy)
7.5
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Ratings: 7.5/10 from 2,348 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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Title: The Hawks and the Sparrows (1966)

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Stars: Pier Paolo Pasolini
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Cast

Complete credited cast:
...
Innocenti Totò / Brother Cicillo
...
Innocenti Ninetto / Brother Ninetto (as Davoli Ninetto)
Femi Benussi ...
Luna
Umberto Bevilacqua ...
Incensurato
Renato Capogna ...
The medieval rude fellow
Alfredo Leggi
Renato Montalbano
Flaminia Siciliano
Giovanni Tarallo ...
Starving peasant boy
Vittorio Vittori ...
Ciro Lococo
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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 | History

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

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Film's opening credits are not only displayed on screen but also comically sung in Italian to a jaunty Ennio Morricone score, with a memorably droll rhyming of the film title with the director's full name. See more »

Crazy Credits

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

Connections

Referenced in The Vesuvians (1997) See more »

Soundtracks

Uccellacci E Uccellini - strum
Composed by Ennio Morricone
See more »

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User Reviews

 
Big Birds, Small Birds
2 November 2008 | by (Berlin, GER) – See all my reviews

"Where goes humanity?" - "I don't know!" Maybe it's a comedy, but I don't think anyone is 100% sure what kind of a film this really is. It's not really comedic, because behind all those absurdities and silliness there lies a seriously political and religious concern, a bittersweet desire and infallible disappointment. Maybe we should take the film as what it is, as one-of-a-kind, a cinematic high jump which gives rise to all sorts of speculation and conjectures without knowing where to start and where it ends.

Not only the viewer is left unsure, the protagonists are, too. They embody the condition of the film's unsureness perfectly, as well as the nature of one of the most unique works of Italian cinema, which is also the most variant and formally abstract film project of Pasolini: A weird story, a picaresque tale which mixes metaphors and cinematic references (from Keaton's statics to Chaplin's poesy of the dusty road to Fellini's clowns to Rossellini's monks); a philosophic apology which depicts the end of ideologies, the crisis of Marxism on the background of the clash of rulers and subjects (hawks and sparrows) and the unfortunate encounter of those who have the blessing of knowledge (the wise raven) and those who outlive themselves without the awareness of being part of this world: Totò and Ninetto, father and son. Both are walking the eternal road of a universe which is merciless, discuss pretentious things and express themselves with the help of their basic instincts: physical needs, but also the hate towards inferiors and subservience to superiors. On their way, they encounter the mystery of life and death (birth of a child, a family that kills themselves with gas, a funeral), as well as the mortal fear of those who starve. Until the raven appears, decides to go along with them and overwhelms them with needless wisdoms.

It's great to see Totò in here, a masterful actor who often was criminally misused in abysmal Italian entertainment movies and shows here the wide range of his talent. The interaction with the young, intuitive Ninetto Davoli is probably the biggest joy in this film.


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