Thu September 26, 2013
La rabbia di Pasolini, Pier Paolo Pasolini, Giuseppe Bertolucci (Italy, 1963/2008)
SEE EVENT DETAILS
at Pacific Film Archive (PFA) Theater
(see times)
New 35mm Print!
(The Rage of Pasolini). In 1963, Pasolini was invited to make a film using a collection of newsreels. He set to work, but was derailed when the producer made the unwelcome decision to link Pasolini’s film with one by the ultra-right-wing journalist Giovanni Guareschi, Pasolini’s political opposite. The result, La rabbia, was an unhappy marriage, and failed at the box office. Forty-five years later, Giuseppe Bertolucci undertook to reconstruct that abandoned film. His controversial simulation is presented here followed by a revelation, Pasolini’s episode of La rabbia. Unseen since its release, Pasolini’s film essay, constructed from newsreel footage accompanied by poetic and political commentary, reveals his radical view of history. He begins by asking, “Why are our lives dominated by discontent?” The film’s response centers on social and political conflicts, venturing from Cuba, Congo, and India to a Fiat plant and an atomic blast, while also encompassing Sophia Loren and Marilyn Monroe. Pasolini champions freedom, revolutionary and class struggle, and, finally, the larger view, looking back from space.
—Kathy Geritz
• (81 mins, In Italian with English subtitles, Color/B&W, 35mm, From Luce Cinecittà, permission Minerva Pictures)
Preceded by:
La ricotta
(Pier Paolo Pasolini, Italy, 1962)
Pasolini’s episode of the omnibus film RoGoPaG, starring Orson Welles as a director shooting a film on the life of Christ, is a satirical, self-reflexive comment by the filmmaker on the fragility of his own art. “Overflowing with a largeness of spirit, it is one of Pasolini’s most satisfying films” (Kevin Thomas, LA Times). (35 mins, In Italian with English subtitles, Color, 35mm, From Luce Cinecittà, permission Compass Film)
Total running time: 116 mins
show less
(The Rage of Pasolini). In 1963, Pasolini was invited to make a film using a collection of newsreels. He set to work, but was derailed when the producer made the unwelcome decision to link Pasolini’s film with one by the ultra-right-wing journalist Giovanni Guareschi, Pasolini’s political opposite. The result, La rabbia, was an unhappy marriage, and failed at the box office. Forty-five years later, Giuseppe Bertolucci undertook to reconstruct that abandoned film. His controversial simulation is presented here followed by a revelation, Pasolini’s episode of La rabbia. Unseen since its release, Pasolini’s film essay, constructed from newsreel footage accompanied by poetic and political commentary, reveals his radical view of history. He begins by asking, “Why are our lives dominated by discontent?” The film’s response centers on social and political conflicts, venturing from Cuba, Congo, and India to a Fiat plant and an atomic blast, while also encompassing Sophia Loren and Marilyn Monroe. Pasolini champions freedom, revolutionary and class struggle, and, finally, the larger view, looking back from space.
—Kathy Geritz
• (81 mins, In Italian with English subtitles, Color/B&W, 35mm, From Luce Cinecittà, permission Minerva Pictures)
Preceded by:
La ricotta
(Pier Paolo Pasolini, Italy, 1962)
Pasolini’s episode of the omnibus film RoGoPaG, starring Orson Welles as a director shooting a film on the life of Christ, is a satirical, self-reflexive comment by the filmmaker on the fragility of his own art. “Overflowing with a largeness of spirit, it is one of Pasolini’s most satisfying films” (Kevin Thomas, LA Times). (35 mins, In Italian with English subtitles, Color, 35mm, From Luce Cinecittà, permission Compass Film)
Total running time: 116 mins
New 35mm Print!
(The Rage of Pasolini). In 1963, Pasolini was invited to make a film using a collection of newsreels. He set to work, but was derailed when the producer made the unwelcome decision to link Pasolini’s film with one by the ultra-right-wing journalist Giovanni Guareschi, Pasolini’s political opposite. The result, La rabbia, was an unhappy marriage, and failed at the box office. Forty-five years later, Giuseppe Bertolucci undertook to reconstruct that abandoned film. His controversial simulation is presented here followed by a revelation, Pasolini’s episode of La rabbia. Unseen since its release, Pasolini’s film essay, constructed from newsreel footage accompanied by poetic and political commentary, reveals his radical view of history. He begins by asking, “Why are our lives dominated by discontent?” The film’s response centers on social and political conflicts, venturing from Cuba, Congo, and India to a Fiat plant and an atomic blast, while also encompassing Sophia Loren and Marilyn Monroe. Pasolini champions freedom, revolutionary and class struggle, and, finally, the larger view, looking back from space.
—Kathy Geritz
• (81 mins, In Italian with English subtitles, Color/B&W, 35mm, From Luce Cinecittà, permission Minerva Pictures)
Preceded by:
La ricotta
(Pier Paolo Pasolini, Italy, 1962)
Pasolini’s episode of the omnibus film RoGoPaG, starring Orson Welles as a director shooting a film on the life of Christ, is a satirical, self-reflexive comment by the filmmaker on the fragility of his own art. “Overflowing with a largeness of spirit, it is one of Pasolini’s most satisfying films” (Kevin Thomas, LA Times). (35 mins, In Italian with English subtitles, Color, 35mm, From Luce Cinecittà, permission Compass Film)
Total running time: 116 mins
read more
(The Rage of Pasolini). In 1963, Pasolini was invited to make a film using a collection of newsreels. He set to work, but was derailed when the producer made the unwelcome decision to link Pasolini’s film with one by the ultra-right-wing journalist Giovanni Guareschi, Pasolini’s political opposite. The result, La rabbia, was an unhappy marriage, and failed at the box office. Forty-five years later, Giuseppe Bertolucci undertook to reconstruct that abandoned film. His controversial simulation is presented here followed by a revelation, Pasolini’s episode of La rabbia. Unseen since its release, Pasolini’s film essay, constructed from newsreel footage accompanied by poetic and political commentary, reveals his radical view of history. He begins by asking, “Why are our lives dominated by discontent?” The film’s response centers on social and political conflicts, venturing from Cuba, Congo, and India to a Fiat plant and an atomic blast, while also encompassing Sophia Loren and Marilyn Monroe. Pasolini champions freedom, revolutionary and class struggle, and, finally, the larger view, looking back from space.
—Kathy Geritz
• (81 mins, In Italian with English subtitles, Color/B&W, 35mm, From Luce Cinecittà, permission Minerva Pictures)
Preceded by:
La ricotta
(Pier Paolo Pasolini, Italy, 1962)
Pasolini’s episode of the omnibus film RoGoPaG, starring Orson Welles as a director shooting a film on the life of Christ, is a satirical, self-reflexive comment by the filmmaker on the fragility of his own art. “Overflowing with a largeness of spirit, it is one of Pasolini’s most satisfying films” (Kevin Thomas, LA Times). (35 mins, In Italian with English subtitles, Color, 35mm, From Luce Cinecittà, permission Compass Film)
Total running time: 116 mins
show less
Date/Times:
Pacific Film Archive (PFA) Theater
2575 Bancroft Way, Berkeley, CA 94720
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