pier paolo pasolini – PopCult Reviews

Movie Review – Arabian Nights

Arabian Nights (1974)
Written by Dacia Maraini and Pier Paolo Pasolini
Directed by Pier Paolo Pasolini

Pier Paolo Pasolini would be dead a year after Arabian Nights’ release. It was the final film in his Trilogy of Life, preceded by The Decameron and The Canterbury Tales. Of all his work, it was the first to fully embrace queerness. Pasolini was a homosexual who existed in a strange tension with the Catholicism in which he had been raised. His work often looked to the past to comment on or understand some aspect of the future. Instead of focusing on the misery of the peasant class, Pasolini sought to display the joy experienced by those people the wealthier parts of society often dismissed. These classic stories that had shaped so many people’s imaginations were the perfect soil from which to grow that seed.

Movie Review – The Canterbury Tales

The Canterbury Tales (1972)
Written and directed by Pier Paolo Pasolini

The Canterbury Tales is a text I have some history with. As an undergrad, I was an English major after toying with a Mass Comm degree for too many semesters. One of the classes I took was Chaucer and Medieval Literature, not because I necessarily loved that era, but because it was either a requirement for the degree and/or a bunch of my friends were taking it. I don’t remember which now. The class was taught by the head of the English Department, one of the best teachers at the university, and by the end, he had me interested in it all. One of the requirements to pass was that by the end of the term, you had to stand in front of the class and recite the General Prologue (the first 18 lines) of the Canterbury Tales.

Movie Review – The Decameron

The Decameron (1971)
Written and directed by Pier Paolo Pasolini

While Pier Paolo Pasolini was fond of adapting classic pieces of literature, he wasn’t keen on making them period-accurate. Instead, he sought to use these foundational texts of Western civilization as critiques of the contemporary world. Changes to details like locales were commonplace to get his point across. This is why he transplanted Salo from revolutionary France to the era of Mussolini in Italy. The Decameron doesn’t see a shift in time; it’s still set in 14th-century Italy, but in the southern region where characters speak with a prominent Neapolitan dialect. Pasolini saw this as a commentary on southern Italy’s exploitation at the hands of the wealthier north.

Movie Review – Medea

Medea (1969)
Written and directed by Pier Paolo Pasolini

You hear about Medea’s homeland long before you see her. The film opens with the usurping of King Aeson and Jason, his son, being put in the care of the centaur Chiron. Chiron knows that one day, Jason will travel too far away from Colchis and steal the golden fleece. The film shifts to an almost documentary-like portrayal of an event on Colchis. We observe that the king’s own son is sacrificed, and Princess Medea, whose chief role is as a priestess, oversees the whole affair. It’s disturbing and portends trouble for Jason when he embarks on his eventual mission.

Movie Review – Theorem

Theorem (1968)
Written and directed by Pier Paolo Pasolini

Stop me if you’ve heard this one. A visitor (Terence Stamp) appears in the lives of a bourgeois Italian family. This stranger goes about having sexual relationships with every member of the household. That’s the shy daughter, the repressed mother, the deeply disturbed father, the sensitive son, and the devoutly religious maid. The stranger barely speaks a word but seems to provide each person with the type of care & attention they are in desperate need of.

Movie Review – Oedipus Rex

Oedipus Rex (1967)
Written and directed by Pier Paolo Pasolini

Pasolini had a deep interest in the mythic. In his early films, the mythic could be found among the peasant class that lived on the outskirts of post-war Rome as it was rebuilt into a modernized city, complete with mass consumerism. Despite being a very modern type of person – queer, atheist, communist – Pasolini was constantly returning to the past, especially to myths & fables where symbolism provided a mystical explanation for how the world came to be what it is. After experimenting with it in a short film, this was the director’s first feature-length color movie. The result is a picture where Pasolini pushes his filmmaking to new heights but still stumbles along the way.

Movie Review – The Gospel According to St. Matthew

The Gospel According to St. Matthew (1964)
Written and directed by Pier Paolo Pasolini

It may seem like an incredibly odd match. A queer, atheist, communist Italian man making a film about the life of Christ. Even more bizarre, it was In an effort to find relevance in the landscape of the post-war world, Pope John XXIII had asked for an audience with contemporary non-Catholic artists. Pasolini had been raised in the Church and accepted the invitation, knowing so much of his identity clashed with the institution. The meeting occurred in Assisi, and the subsequent traffic jam caused by the Pope’s presence in town left the filmmaker stuck in his hotel longer than he had expected. Pasolini claims he paged through a Bible in the hotel room, reading through each of the Gospels and settling on Matthew as the perfect one for the film he had in mind. His opinion was that the three other Gospels embellished or lacked a clear perspective on Christ; Matthew’s gospel was the most human.

Movie Review – Mamma Roma

Mamma Roma (1962)
Written and directed by Pier Paolo Pasolini

Pasolini’s work stands out from his Italian peers of the era. He’s completely caught up in doing his own thing, making movies with a particular style nobody else brought to the table then. While his first few films, like this one and Accattone, are set contemporaneously, the filmmaker would quickly lose interest in that and dive deeper into the past through classic stories that shaped the world he was born into. Pasolini also held peasants in high regard, even though, as a gay man, he was often the subject of hate from them. That hate, of course, was stoked by the remnants of Italian fascism & generations of patriarchy that lie dormant until their more recent return to prominence (see Italy’s current fascist PM). Mamma Roma is a story of a peasant rising from her “lowly” beginnings to finally have a peaceful, more secure life, only to deal with challenge after challenge.

Movie Review – Accattone

Accattone (1961)
Written and directed by Pier Paolo Pasolini

Pier Paolo Pasolini was born in Bologna, Italy, in 1925. His mother was a primary school teacher, and his father was a lieutenant in the Royal Italian Army. A year later, Pasolini’s father was arrested for gambling debts, and his mother moved in with her family. In time, Pasolini’s father would embrace Italian fascism.

Movie Review – Salo, or The 120 Days of Sodom

Salo, or the 120 Days of Sodom (1975)
Written by Sergio Citti
Directed by Pier Paolo Pasolini

His body was nearly unrecognizable when it was found on a beach in Ostia, near the edges of Rome. Pier Paolo Pasolini had been savagely beaten and run over multiple times with his own car. Additionally, the director had his genitals crushed with a metal bar and had been doused in gasoline and set ablaze. He was 53 years old when his life was taken. He hadn’t started making movies until he was 35, having helped write dialogue for Federico Fellini’s Nights of Cabiria. Fellini brought him back for the La Dolce Vita script. Before films, Pasolini was known as a poet & a painter, both finding a potent presence in his cinematic work. His murder appeared to have been part of an extortion attempt by the mafia, stealing reels of Salo and demanding large sums of money in return. There was certainly hate behind it, too.