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 »
While scouting locations for his classic "The Gospel According to St. Matthew", director Pier Paolo Pasolini noticed that filming in the actual site of the story, in Palestine, wouldn't be ... See full summary »
This consists of four short films by different directors. Rosselini's 'Chastity' ('Illibatezza') deals with an attractive air hostess who receives the unwelcome attentions of a middle aged ... See full summary »
Five short stories with contemporary settings. In New York, people are indifferent to derelicts sleeping on sidewalks, to a woman's assault in front of an apartment building, and to a ... See full summary »
CHE COSA SONO LE NUVOLE (by Pier Paolo Pasolini) Durante la rappresentazione dell'Otello in uno spettacolo di marionette, il pubblico si ribella alla malvagità di Jago ed invade il palco ... 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, ... See full summary »
Pier Paolo Pasolini
On December 12th, 1969 a bomb went off at the Piazza Fontana in Milan that killed 16 people and injured 84. Railway worker and anarchist activist Giuseppe Pinelli was picked up, along with ... See full summary »
Pier Paolo Pasolini
Edoardo Di Giovanni,
The capital of Yemen, the city of Sana'a, holds an important part of history within its walls filled with medieval architecture and culture. But that same culture was about to disappear ... See full summary »
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
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 »
The opening credits are performed as a song. See more »
"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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