La genius of Pier Paolo Pasolini, 40 years after the death
The body exposed to the viewer crow. ” Thus says the caption of a photo of the Spanish film magazine Directed by the way the murder of Pier Paolo Pasolini. The face and body mutilated checked the times he had gone over the young artist’s car lover night Spa Ostia. The sacrificial ritual had already occurred and sooner or later the body of Pasolini would be displayed like a bad scene gore horror of Italian cinema, as appropriated Time Argentino .
pimp slaughtered bodies of Accattone (1961), the son of Mamma Roma (1962), the voracious consumer of ricotta in the episode RoGoPaG (1963), the Christ of The Gospel According to St. Matthew (1964) and young humiliated and tortured for power in Salo, or the 120 Days of Sodom (1975), Pasolini’s death was expected at that Italy’s economic recovery and consumption of the middle class that both terrified the artist.
A artist, actually; not only a director, a writer, a playwright, a politician, a permanent debater, a theoretical image, a film critic, a cultural reference. In any case, Pasolini was (is) “a thought form, a form that thinks” as expressed in Godard’s video series Histoire (s) du Cinéma. And it was (is) an overpowering personality, annoying, uncomfortable for any social order with the exception of his ragazzi adored vita, these young invaded by the homoerotic gaze of the artist, these survivors suburb that economic aid postwar happened overlooked.
“I can not do more harm. Okay who died. Militant obscenity, he could not escape it in the time of his death. “
First writer and then a director, critic of Italian neorealism more sentimental, classical narrative in his first titles (Accattone, Mamma Roma) and cryptic in form and content in later films like Porcile (1969), Theorem (1967) and Uccellacci and uccellini (1966) through allegorical abductions already reported on the future of Italy, or in any case a given society by the subsequent triumphalism of the Second War.
Pasolini made few movies but enough to express his thought, his Catholic-Marxist utopia with the workers starved Christ preaching the axioms of Antonio Gramsci involved in verbal liturgies of the New Testament. “Society most illiterate, the most ignorant bourgeoisie in Europe” says Orson Welles in reference to Italy, from the skin of the film director of the ricotta to the bewildered look of a friendly journalist. “As a Marxist death is a matter that I have in mind,” says Welles huge word from Pasolini. “In my attempt to express my deepest film and archaic Catholicism” is heard in the same scene. Pasolini thinking aloud, reviewing Italian society half a century ago when the future nor even government monopoly of Silvio Berlusconi or the nearest French May to the artist give their adhesion with appropriate reservations guessed. Is that Pasolini was from theory to practice, but recognizing the marginal terrain, the acattos of street language and the virgins protected by the use of sacred and religious music.
If the dome Vatican had faltered a bit with the sexual and social exterminating angel played by Terence Stamp in Theorem, the decision to Pasolini adapted Sophocles from Oedipus Rex (1967) and Euripides’ Medea (1970) served as dim backwaters amidst provocation and anger already installed. But come the “Trilogy of Life” with Decameron, The Canterbury Tales and The Arabian Nights, filmed between 1971 and 1974 and, with them, the commercial impact, naked bodies, the Devil incarnate by Franco Citti, the clown dancer Ninetto Davoli, drawings of penises and vaginas details, the sounds of flatulence and even a Dantesque hell spat friars by Satan’s ass. But Pasolini was in no mood and abjure Trilogy. And it would Salo, neater and your film with care from the formal perfection in the framing and symmetry planes. All this, narrated in the midst of disgust, torture and genital excisions of young virgins. Power beats History and Pasolini gets into a chamber of horrors Dantesque allegory to tell the end of an era. As if it were embodied in Visconti but filming from inside a toilet, Salo is the outcome of that thought that his days were numbered and announcing the final sacrifice. Long ago, he commented to the students during a class in less than three years (1974/1977) that auteur began to disappear with the deaths of Rossellini, De Sica and Visconti. One student, however, said that the decline of that unique era had begun earlier with the murder of Pasolini never clarified. I needed only a few seconds to answer and tell him right
The myths of the left
He died like a dog:. Smashed to death. He died for what it was: a bastard. Like a symbol-died at the hands of the youth, the youth that by all means tried to corrupt and soften. Pier Paolo Pasolini was left, Marxism, dissolution, communism. He died unnoticed in the Roman suburban night. The morning brought the news of the end of a nightmare. Avowed homosexual, made his moral misery based on their work in film and literature. A typical example of leftism for export. He was held by genius. And that is when the Marxists lie, lie all. This contemporary monstrosity “Marxist Catholic” lets marxistizados Catholics and Marxists descatolizados a jewel for educated left: 120 Days of Sodom, with texts that other misunderstood, the Marquis de Sade. Cables of various news agencies say textually speaking of the dead enemy, “although the letters lose a stronghold, it is the cinema which, with the death of Pasolini, is orphaned of one of its greatest exponents.” Textual. This is chronic. Then, when eventually you meet all distorted and not know where it all started, have a clue. Everything can start in the distortion of the news when called to Pasolini “bulwark” literary and “exponent” film. (…) Pasolini is the solvent presence of Marxism among us. Pasolini is intelligent enemy’s work. The fine work moral sapping. In spiritual relaxation. We must never underestimate the enemy and Pasolini was fine job enemy. He was the first of thinkers, although not think.
can do no more harm. Okay who died . Militant obscenity, could not escape it at the time of his death. But not only Pasolini Pasolini. It is others are more. It is all that remains, which is steam-and coming. It’s all Bolshevik press, is “Crisis”, “Questionnaire”, “Our Word”, “La Opinion” and “El Cronista”. They are those in what he was seeking and what he sought, they are the same thing. Foul they die many more yet to make the air breathable.
Pasolini authored Oedipus Rex, Theorem, The Canterbury Tales, Medea, Decameron, The Gospel According to St. Matthew, all-in a form or another widespread in Argentina. The Church-not in vain has personally suffered Vatican 11- forgetting old grievances of Pier Paolo, rewards in due course. The left is in mourning. One less. Pasolini was shown excellence -for an expired time, decadent, a stinking culture. Surely Pasolini knew I was not doing well when he invited into his car to which the matador resultarla. What we did not know was that he would lose forever. He died like a dog: Shredded shock. He died for what it was: a bastard. He died at the hands-like a symbol-youth, youth who tried to corrupt. THE LEADER. No. 72. 21.11.1975.
PPP, by Albertina Carri
PPP is a bounded formula letters used to describe an extreme close on a technical script, or a call to shoot; in internal documents that are generated for a film and then being filmed are discarded because it is there, on the screen, the extreme close of this character, of which actress, question us with his eyes, with a smirk, showing lascivious and beautiful teeth, eyelids moving up and surrendering with his eyelashes all the grief that exist in this world. The iris of the eye expands the character himself and some narrated by the corner of the mouth through our subjectivity forever.
This is what I achieved PPP-our beloved Pier Paolo Pasolini with each one of its planes and each of his words, as if the abbreviation of his name secret passion with which he would transform everything enroll because Pasolini transformed us all, putting your body as political discourse and making image, always political, a body of rabid irreconcilably with the art work itself. But beyond the paradox of the acronym or the analogy between the initials of his name and that plane so near the world face that leaves us in his films, I write about plans to discuss the great poet and not staged because I think the idea of mise en scene for the cinema of Pasolini is a corset. A corrective rather those identities-bodies-subjectivities-affections corset fucking nothing, nothing transvestite, no bun, but with the passionate critic made its revolution, one that left us to future generations the challenge of rethinking the way we are and being in society; and do that which called capitalism incorrect flag rabbia love and flaming in the sky of forgotten and neglected this world. The idea of staging the operation Pasolini becomes then very old and colonialist.
I did not read all that Pasolini wrote, although I was mistress for some years of his film. I looked through the eyes of teenager in VHS found, provided, snatched from homes of friends, until some cycle capped the passionate relationship with a copy film of The Thousand and One Nights and the Decameron, and then that passion became love for always. I did not read all his trials but if I cherish a means incunable book containing his writings as a film critic, where true to the power of his intelligence to analyze a movie descends into hell of political analysis or ideological debate and we gives a vital substance to continue transforming: “The end of the film is moralistic and somewhat reactionary. In recent years the phenomenon of evil and idiocy that is fascism seemed drowsy and overcome (…) We were wrong: fascism continues winding through Italy, for Europe, for America and it is natural, fascism is only one of the ideological elements of capitalism while capitalism exists also be fascism to defend, preserve and endorse it. “(PPP, March 8, 1960).
Five essential films
Accattone (1962): The Marshall Plan would never survive the Roman suburb where former pimp played by Franco Citti. . Posneorrelismo
The Gospel According to St. Matthew (1964): The starving Christ of Pasolini and his invocations to Gramsci and the New Testament. . Marxist Catholicism
Oedipus Rex (1967): Mother and Son, and the final return to the uterus by the blind Tiresias predicted
<. strong> The Canterbury Tales (1972): Second of the Trilogy of Life, Geoffrey Chaucer is the director reminding a hell of friars and flatulence
or Salo. 120 Days of Sodom (1975): Sade and the annihilation of youth in the hands of power. Banned in (almost) everyone.
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