Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son... See full summary »
Pier Paolo Pasolini
In pre-war Italy, a young couple have a baby boy. The father, however, is jealous of his son - and the scene moves to antiquity, where the baby is taken into the desert to be killed. He is ... See full summary »
After many years working in the streets of Roma, the middle-age whore Mamma Roma (Anna Magnani) saves money to buy an upper class apartment, a fruit stand and retires from the prostitution.... See full summary »
Pier Paolo Pasolini
"La Rabbia" employs documentary footage (from the 1950s) and accompanying commentary to attempt to answer the existential question, Why are our lives characterized by discontent, anguish, ... See full summary »
Pier Paolo Pasolini
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 »
Pier Paolo Pasolini
In this film inspired by the ancient erotic and mysterious tales of Mid-West Asia, the main story concerns an innocent young man who comes to fall in love with a slave who selected him as ... See full summary »
This richly symbolic film is really impossible to understand without some knowledge of 20th Century Italian history, and particularly the power of the Roman Catholic Church. The Lateran Treaty of 1929 finally politically separated Italy from Church power by creating the Vatican as a sovereign state. But the trade off was the that the Church was still left in power over many aspects of everyday Italian life. For instance, Italy finally established a civilian divorce law through a bitterly contested 1970 referendum. Before then, divorce was under strictly in the domain of Church law, and the Church NEVER granted a divorce, even in extreme cases like when a spouse was abandoned many years hence. Overall, however, the power of the Church still resided in the blind allegiance of Italians at all levels to Church morality. Over decades, this led to impeding Italy's social and political progress, and greatly maintained the status quo in the division between the privileged upper class and the ...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 »
Confusing but fascinating motion picture about the experiences of a father and son. A Felliniesque story with the two main characters experiencing anything strange or surreal tht comes their way. Maybe influenced from the work Pasolini did with Fellini on Nights of Cabiria(1957) and La Dolce Vita(1960). Has many areas in it that is characteristic of a Federico Fellini film. Even the father reminds me of some characters from a Fellini picture. The direction is simple as well as subtle. Uccellacci E Uccellini/Hawks & Sparrows(1965) is Pasolini's lightest and most gentle picture of his filmography. Light years away from the controversial and nilistic sections of his later films. An uncharacteristic film for Pier Paolo Pasolini because of its cheerful and clownish nature. The comedy in Hawks and Sparrows(1965) is in the tradition of such silent greats as Chaplin, Keaton, and Lloyd. Complex film that probably should be seen more than once to attempt at getting a clear meaning of its allegoric nature.
Hawks and Sparrows(1965) gets some good acting from the leads Toto and Ninetto Davoli. On casting people for Pasolini's film he remarked("I use both actors and non-actors, and I am not interested in their ability. I take them for what they are") with an interesting line. This quote from Pasolini is important in the casting of Hawks and Sparrows(1965) because of his personal perference of non actors over actors. The first film I have seen with the actor Toto. Ninetto Davoli does a decent job for a person who never acted before in his life. The rest of the actors are good in the segments they are in. The director liked using non actors because he wanted a natural and unconscious style that could not be possible with a pro actor. Pier Paolo Pasolini was one of the best and most rare type of movie makers to inhibit is cinema with mostly non actors. Each episode is funny and yet intellegent. Pasolini conveys the character of Toto as someone who is unaware of life around him. Filled with the usual political beliefs Pasolini was into.
The opening credits are creative and very unusual. They are played over the screen in the form of a prose. I only wish that more films would use this kind of opening credits instead of the usual opening credits because its more interesting here. The director's intention was to make a film that was pure prose and in the tradition of Buster Keaton and Charles Chaplin. Hawks and Sparrows(1965) does retain the elements of the tragic comedy with the themes of class and poverty. Ennio Morricone plays one of his best film scores in a non Leone film. Pasolini and Morricone did some good work together as director and film composer. Shows how good Pasolini was at in using simple images to push forward a themematic idea. The bird that follows the father and son represents something that is the total opposite of the two. Visual poetry at its finest and and most beautiful. One scene that has recently resurfaced during the late 1980s was an unreleased episode called "Toto At The Circus".
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