SPAIN: Pasolini: the damn awareness / World / When the 40th anniversary of the death of Pasolini approaching a date etched in the history of Italy, there is only one certainty: That night, in a field in Ostia, a few kilometers from Rome, Pier Paolo Pasolini was brutally murdered. According to the autopsy he received a savage beating, which included a very violent kick in the testicles that caused a massive internal injury and so many blows to the head and to also generate you a brutal external bleeding. “It’s not just blood came out, there was genuine jets,” they wrote in his forensic report. After the poet, writer, filmmaker, painter and intellectual was hit with his own car, he blew several internal organs and left her reduced to a mass of bones and flesh body. So much so that Maria Teresa Lollobrigida, the lady who discovered his body, he thought at first that it was a lot of trash.
Pino Pelosi, a kid from the slums dubbed ‘The Frog’ and then aged 17, he was the only person convicted for that crime, which he admitted to ensuring that killed Pasolini in self-defense when he tried to rape him. We fell nine years and seven months in prison in 1982 and released from prison in semi-liberty. But nobody ever believed that ‘The Frog’ was the only one responsible for the death of the poet.
The contradictions that gave his account of what happened were too important to ignore them, starting with the small detail that when that night was arrested behind the wheel of his victim Pelosi showed not a single spot of blood. Neither was injured, except for one in the front that was made to stop the vehicle violently to give high and hit the police car with the steering wheel. Which did not have a scratch is even more strange if you consider that Pasolini was a tall, robust, athletic and martial arts expert type.
Since 40 years ago, amid the huge commotion generated his death, he immediately began to talk about the possibility that Pasolini had been a political assassination. At the end of the day, the intellectual who had become the chief prosecutor of power in general, and of political power in particular was an uncomfortable kind. And what better way to silence to try to discredit him with a crime of sexual background and convince Pelosi that charged only with guilt because, being a minor at the time of the murder, would fall a soft sentence, as happened.
But if that was the ultimate goal, they did not. Pasolini, born in Bologna in 1922, in the bosom of a wealthy family, has not only become the symbol par excellence of intellectual of the 70, but his legacy remains quite alive. And not only for the life of many of his ideas (such as his ruthless criticism of the consumer society, which was accused of having impoverished Italy to impose on all the same petty-bourgeois culture uniform country), but also for his deep personal and artistic commitment to the authenticity or its upstream swim (remember that in May 68 sided with the police that repressed the demonstrators, considering that most of them were children of farmers who could not choose another job while students were children of bourgeois dad).
The actuality of Pasolini is quite tangible. It materializes, for example, in the important exhibition opens Tuesday at the Palace of Exhibitions in Rome and analyzing the figure of Pasolini since moving to the Eternal City in 1950 until his death 25 years later. An exhibition that reaches the Italian capital after harvesting a huge success in Contemporary Culture Center of Barcelona and then travel to Berlin and then anchor in Paris. And it is also embodied in the film that the American filmmaker Abel Ferrara just finished filming in Rome after seven long years delving into the life and death of the writer (played by Willem Dafoe) and focuses mainly on the Pasolini of the recent years and in his murder.
The truth of his death The film aspires to be in the Venice but is already gaining attention. Especially because it is once again putting the spotlight on what really happened that fateful night of November 2, 1975. “I know who killed Pasolini and eventually say his name,” said Ferrara, prompting suspicions some, who believe that could be a strategy to be publicized. But in case, the lawyer Giulio Mazzon, Pasolini’s nephew, has asked the prosecution to call Rome for Ferrara take a statement about what you know.
“The most dramatic account of my is the life I had with my father. In fact I have dramatic relationships with all paternal, starting with the state, “he admitted repeatedly Pasolini. His was a fascist, tyrannical, violent military father and tangled in constant fights with his mother, although in his defense it must be said that it was he who encouraged him to take literary career. “My father attributed to poetry an official character. I could not think it was subversive, scandalous,” he claimed in that regard.
What is not in doubt it is that very young Pasolini felt much more Next, physically and emotionally, his mother, living and sharing it intensely felt resentment for his father. It was she who wrote his first poetry with seven years to match it with one that she had given him and telling him how much she loved him. And it is for this reason that he found it quite natural to write in Friulian dialect, the language of his mother, the language spoken by the vast majority of the inhabitants of that region of northeastern Italy where he spent much of his childhood and that he represented a kind of rural, pure and bucolic arcadia. His first book, ‘Poetry in Casarsa’, published in 1942 during the death throes of the dictatorship of Mussolini, and scandal aroused simply by the fact of being written in Friulian dialect and grant dignity written into a language which until then had only been oral. And not admit that fascism in Italy had local particularities, languages were considered stubborn morons.
The same seeking purity in the Friulian language is what took years after Pasolini, as in Rome , to be dazzled by the lumpenproletariat, by beggars, criminals, prostitutes and other marginalized both his style and his way of life. At the end of the day, Pasolini repudiated cultural and linguistic uniformity was aware that he was imposing the consumer society. “The kind of people I love, by far, are those that have not even high school;. That is, people quite simple not say this rhetoric, saying that because the petty-bourgeois culture is something that always leads to corruption, to impurity, while an illiterate, one that has only made the early years of elementary school, retains a certain grace that then lost through culture. It is true that are extremely high degree of culture, but the average culture is always corrupting “he said.
That premise, which brought to an end prompted him to preach the abolition of television and of compulsory school, he also did break into the intellectual and artistic life Roman with the publication in 1955 of ‘Ragazzi di vita’, translated into Spanish as ‘Lads Brook’. And when he decided to embrace the film, convinced that this new language was “the expression of reality”, the same sausage and prostitutes in the outskirts of Rome speaking in dialect were the protagonists of his first films, ‘Accatone’ (1961) ‘Mamma Roma’ (1962) and ‘ricotta’ (1963). The latter film caused him to be taken to court, accused of vilifying religion. From that moment until his assassination, his name is synonymous with scandal and will be subject to 33 processes, aimed at trying to silence his critical and controversial voice, the voice of conscience which denounces everything that causes indignation. A voice that eventually got shut up.
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