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 »
Having renounced her ignominious past, a former streetwalker reunites with her son. However, an extortion scheme endangers her aspirations for a decent bourgeois life. Can she protect him from the same snares that wounded her youth?
Pier Paolo Pasolini
After his quest to retrieve the fabled Golden Fleece, Jason returns to Greece with the powerful sorceress, Medea. However, when the king banishes her, it's only human that Medea plots her furious revenge. Can they escape her wrath?
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
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 »
Ancient Arabia. A youth is chosen by a beautiful slave girl to be her new master; she is kidnapped and they must search for each other. Stories are told within stories; love, travel and the whims of destiny.
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
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 »
The opening credits are performed as a song. See more »
the most irreverent Italian satire you've never seen, this is one of Pasolini's very best
How I love a film that taps into the absurd while staying true to the symbolism, and in the process mocking it and then creating symbolism again. It's a very tricky thing- Bunuel was one of the masters at it- and Pier Paolo Pasolini, in one of his rare outright comedies, does just that. The Hawks and the Sparrows is simple enough to explain, in its central conceit: an older man (Toto) and a younger man (Ninetto) are walking along on some not-totally-clear journey (Toto might have some debts to fix or something, and he has apparently eighteen children), and they meet a talking crow, who talks and talks a lot. Then they get into some strange happenings, all comical. But it's the kind of comedy then that Pasolini uses like some deranged poetic waxing on about silent comedy and theories on God and faith and love and politics and, uh, stomach cramps I guess. It's completely off the wall, at times like a roadrunner cartoon (or, for that matter, the best Buster Keaton), and it's told with a dedication to the comic situation. It's masterful.
At times it doesn't seem that way though. It could, in less concerted hands, be more scatter-shot, with some scenes working better than others, and with the one sure bet being the crow (voiced by a great Francesco Leonetti). But from the start, Paoslini is completely confident with the material, from the opening titles that are sung (heh), with the throw-away scene with the kids dancing at the restaurant (with an amazing Ennio Morricone rock song that pops in and out of the film), to the sudden inter-titles ala Monty Python ("the crow is a "left-wing intellectual"), and then onward with the little stories within the framework of the 'road movie'. The biggest chunk Pasolini shows us is the story of two monks- also played by Toto and Davoli- who are instructed by their head monk to talk to the hawks and sparrows and teach them about God. And they do, in bird speak (which is also subtitled in case it's needed), and then go through an allegorical tale of the ins and outs of faith.
It takes some wicked subversion to make these scenes work, but they work hilariously, to the point where I laughed almost every minute of the sequence (as well as with other ones, the exception being the archival clips late in the film of the protest marches). Pasolini once said he was "as unbeliever who has a nostalgia for belief", imbues the story of the monks with a sense of charm to it- you like Toto and Davoli in the parts, not even so much that they're good in the roles, which they are very much so, but because there's some bedrock that the satire can spring from so easily. He, via the exceptional Tonino Delli Colli, films the Hawks and the Sparrows as strong in sumptuous black and white as any of his other early-mid 60s films. But there's a lot more going on within the comedy; it's like he skims a line that he could make it as, like with some of his other work (unfortunately ala Teorema) pretentious and annoyingly trite in its intellectual points. But as he goes to lengths to put a spin on it, it turns into pitch-black comedy, revealing him as an even deeper artist because of it.
Take the birth scene, where the weird theater-type troupe who drive around in a car have to pause in their play on "How the Romans Ruined the Earth", and it suddenly becomes a sly farce unto itself. Something that should be sacred is given the air of playfulness, as though everyone is told "yes, it's alright to be in on the joke", where Toto covers Ninetto's eyes, other actors in the group pray, and then walla, there's a baby, clean as day. Morricone's score, I might add, brings a lot to this air of fun and playfulness, even when (and rightfully so) it goes to the more typical strings and orchestral sounds than the rockabilly, which sounds more like unused bits from Pulp Fiction. And finally, there's the crow itself, which unto itself- had Pasolini not made it mockable- would be funny anyway, as it's a frigging talking crow who for some reason follows the men anywhere they go. It's already allegorical of a sort of guide or voice of reason on their journey, which is fine. But including the ending especially, Pasolini allows for the joke to flip over itself.
With the Hawks and the Sparrows, we get the absurd and the surreal, placed wonderfully in social constructs, and it reveals a filmmaker who can, unlike but like his controversial reputation presents, open up a whole other perspective with a strange twist that mixes classic Italian film style and scathing subject matter. A+
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