ACCATTONE: POET AND THE PIMP – Review by Stanley Kauffmann

2018-02-08T13:05:59-08:00 February 8th, 2018|Categories: CINEMA|Tags: , , , , |

Accattone lives as a work of narrow but intense vision—a film about viciousness and criminality that evokes compassion. Its style is neorealist: it was made on locations, not in studios, with nonprofessional performers. Sometimes this method makes merely vernacular films, but it gives Accattone a grainy, gripping authenticity.

SALO, OR THE 120 DAYS OF SODOM: PASOLINI’S SADISTIC WORK OF ART – by Donald Farmer

2018-02-05T23:46:05-08:00 February 5th, 2018|Categories: CINEMA|Tags: , |

The circumstances accompanying the 1977 American release of Salo, or the 120 Days of Sodom were almost as unusual as those depicted in this, the final film of Italian director Pier Paolo Pasolini. Advance word in Film Comment, Film Quarterly and particu­larly The Village Voice indicated that Salo features extremes of sadism, violence and scatology then un­heard of in a major picture, and the publicity mills were scarcely hampered by the fact that Pasolini himself had been brutally murdered on November 2, 1975 - nearly six months after his film’s completion.

PIER PAOLO PASOLINI: IL VANGELO SECONDO MATTEO – Recensione di Giovanni Grazzini

2018-01-19T18:42:34-08:00 November 21st, 2016|Categories: CINEMA|Tags: , , , , |

A ogni altra considerazione sul film che Pasolini ha tratto dal Vangelo secondo Matteo bisogna avanzare una premessa: l'azzardo ha avuto già il suo premio nel coraggio, nella buona fede, nella rigorosa aderenza al testo sacro.