Fri September 20, 2013
Accattone Pier, Paolo Pasolini (Italy, 1961)
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at Pacific Film Archive (PFA) Theater
(see times)
New 35mm Print!
Pasolini’s first film is set in the milieu of his early novels Ragazzi di vita (1955) and Una vita violenta (1959)—the world of prostitutes, pimps, and layabouts living on the outskirts of Rome and existing outside of both bourgeois and proletarian morality. The film shares some qualities with neorealism, but Pasolini’s unsentimental approach to the cruelty and craftiness of poverty’s children makes Fellini’s vitelloni look like the princes they are. No, this is a Dantean netherworld, and, like the central character, it is of interest to Pasolini, prized even, precisely for its refusal of redemption. The filmmaker graces it with his understated visual passion, at once lyrical and honest, not incongruously set to Bach. In the character of Accattone—a street nickname meaning pimp or scrounger—Pasolini introduced the first of his remarkable finds, Franco Citti (brother of his friend and collaborator Sergio Citti), an actor whose rough-hewn beauty is like a slap in the face
—Judy Bloch
• Written by Pasolini, assisted by Sergio Citti. Photographed by Tonino Delli Colli. With Franco Citti, Franca Pasut, Silvana Corsini, Paola Guidi. (117 mins, In Italian with English subtitles, B&W, 35mm, From Luce Cinecittà, permission Compass Film)
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Pasolini’s first film is set in the milieu of his early novels Ragazzi di vita (1955) and Una vita violenta (1959)—the world of prostitutes, pimps, and layabouts living on the outskirts of Rome and existing outside of both bourgeois and proletarian morality. The film shares some qualities with neorealism, but Pasolini’s unsentimental approach to the cruelty and craftiness of poverty’s children makes Fellini’s vitelloni look like the princes they are. No, this is a Dantean netherworld, and, like the central character, it is of interest to Pasolini, prized even, precisely for its refusal of redemption. The filmmaker graces it with his understated visual passion, at once lyrical and honest, not incongruously set to Bach. In the character of Accattone—a street nickname meaning pimp or scrounger—Pasolini introduced the first of his remarkable finds, Franco Citti (brother of his friend and collaborator Sergio Citti), an actor whose rough-hewn beauty is like a slap in the face
—Judy Bloch
• Written by Pasolini, assisted by Sergio Citti. Photographed by Tonino Delli Colli. With Franco Citti, Franca Pasut, Silvana Corsini, Paola Guidi. (117 mins, In Italian with English subtitles, B&W, 35mm, From Luce Cinecittà, permission Compass Film)
New 35mm Print!
Pasolini’s first film is set in the milieu of his early novels Ragazzi di vita (1955) and Una vita violenta (1959)—the world of prostitutes, pimps, and layabouts living on the outskirts of Rome and existing outside of both bourgeois and proletarian morality. The film shares some qualities with neorealism, but Pasolini’s unsentimental approach to the cruelty and craftiness of poverty’s children makes Fellini’s vitelloni look like the princes they are. No, this is a Dantean netherworld, and, like the central character, it is of interest to Pasolini, prized even, precisely for its refusal of redemption. The filmmaker graces it with his understated visual passion, at once lyrical and honest, not incongruously set to Bach. In the character of Accattone—a street nickname meaning pimp or scrounger—Pasolini introduced the first of his remarkable finds, Franco Citti (brother of his friend and collaborator Sergio Citti), an actor whose rough-hewn beauty is like a slap in the face
—Judy Bloch
• Written by Pasolini, assisted by Sergio Citti. Photographed by Tonino Delli Colli. With Franco Citti, Franca Pasut, Silvana Corsini, Paola Guidi. (117 mins, In Italian with English subtitles, B&W, 35mm, From Luce Cinecittà, permission Compass Film)
read more
Pasolini’s first film is set in the milieu of his early novels Ragazzi di vita (1955) and Una vita violenta (1959)—the world of prostitutes, pimps, and layabouts living on the outskirts of Rome and existing outside of both bourgeois and proletarian morality. The film shares some qualities with neorealism, but Pasolini’s unsentimental approach to the cruelty and craftiness of poverty’s children makes Fellini’s vitelloni look like the princes they are. No, this is a Dantean netherworld, and, like the central character, it is of interest to Pasolini, prized even, precisely for its refusal of redemption. The filmmaker graces it with his understated visual passion, at once lyrical and honest, not incongruously set to Bach. In the character of Accattone—a street nickname meaning pimp or scrounger—Pasolini introduced the first of his remarkable finds, Franco Citti (brother of his friend and collaborator Sergio Citti), an actor whose rough-hewn beauty is like a slap in the face
—Judy Bloch
• Written by Pasolini, assisted by Sergio Citti. Photographed by Tonino Delli Colli. With Franco Citti, Franca Pasut, Silvana Corsini, Paola Guidi. (117 mins, In Italian with English subtitles, B&W, 35mm, From Luce Cinecittà, permission Compass Film)
show less
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Pacific Film Archive (PFA) Theater
2575 Bancroft Way, Berkeley, CA 94720
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