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Wie de Waarheid Zegt Moet Dood (1981)

 -  Documentary | Biography
7.2
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Ratings: 7.2/10 from 129 users  
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Documentary on the life and death of Pier Paolo Pasolini.

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Title: Wie de Waarheid Zegt Moet Dood (1981)

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An attempt to reconstruct the complete version of Pier Paolo Pasolini's segment of La rabbia (1963).

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Cast

Cast overview:
...
Himself (archive footage)
Alberto Moravia ...
Himself, writer
Laura Betti ...
Herself
Maria Antonietta Macciocchi ...
Herself, writer
...
Himself
Nino Marazzita ...
Himself, Pier Paolo Pasolini family's lawyer
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Storyline

Philo Bregstein tells us this film looks at Pasolini's life and art to explain why he died. The film traces Pasolini's life chronologically - family roots, hiding during World War II, teaching, moving to Rome, being arrested and acquitted many times, publishing poems, getting into film, being provocative, and being murdered. Interviews with Alberto Moravia, Laura Betti, Maria Antonietta Macciocch, and Bernard Bertolucci are inter-cut with readings of Pasolini's poems and with clips from four films - primarily the Gospel According to St. Matthew - to illustrate his changing ideas and points of view. Bregstein makes a case for Pasolini's being lynched. Written by <jhailey@hotmail.com>

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Whoever Says the Truth Shall Die  »

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User Reviews

 
Intriguing profile of Italy's finest post-war poet
2 April 2008 | by (West Deptford, NJ, USA) – See all my reviews

Pier Paolo Pasolini was perhaps the most controversial filmmaker in Italy's history. Like Hearst did with the printed word, Pasolini took the art film to the slums - the average working class. Aside from famously adapting great classical works (CHAUCER, BOCCACCIO, SADE, etc.) he also penned scripts for his peers Bernardo Bertolucci and Federico Fellini. The documentary does a fine job addressing Pasolini's literary prowess, simply reading excerpts from his brilliant poetry (stark and reflective, perfect companion to his cinematic works). A fine profile on this genius. Nice touch is that it is partially in English, rather than being completely subtitled like any other movie about Pasolini.


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