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Pier Paolo Pasolini |
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Director / Screenwriter /
Actor |
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1922 - 1975 |
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Born March 5,
Bologna, Emilia-Romagna, Italy |
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Key
Production Countries: Italy, France |
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Key Genres: Drama,
Comedy, Religious Drama |
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Key
Collaborators: Nino Baragli (Editor),
Tonino Delli Colli (Cinematographer), Alfredo Bini (Producer), Franco Citti
(Leading Player), Ninetto Davoli (Leading Character Player),
Ennio Morricone (Composer), Alberto Grimaldi (Producer), Laura Betti
(Leading Character Player), Adele Cambria (Leading Character Player),
Dante Ferretti (Production Designer) |
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Recommended: Accattone
(1961)*, Mamma Roma (1962), La Rabbia (1963)** [co-directed by Giovanni Guareschi], The Gospel According to St. Matthew (1964)*, The Hawks and
the Sparrows (1966)* |
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Worth a Look: Love Meetings (1965), Oedipus Rex (1967), Teorema
(1968)*, The Decameron (1970), Arabian Nights (1974) |
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Duds: The Canterbury Tales (1971), Salo, or the 120 Days of Sodom
(1975)* |
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* Listed in TSPDT's
1,000 Greatest Films
section; **
Listed in TSPDT's
Ain't Nobody's Blues But My Own
section. |
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Links:
[
Amazon
] [
IMDB ] [
TCMDB ] [
All-Movie
Guide ] [
Senses
of Cinema: Great Directors ] [
Film Reference ]
[
Pasolini.net ] [
Kamera
Article ] [
A
Pasolini Fan Page ] [
Pasolini
Profile ] [
Wikipedia ] [
Telegraph Article (2007) ] [
Film
Comment Interview (1965)
] [
Pier Paolo Pasolini.com
] [
Open Democracy Article (2005) ]
[
Boston Phoenix Article (2010) ] |
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Books:
[
Poems ] [
Heretical Empiricism ] [
In Danger: A Pasolini Anthology ] [
The Ragazzi ] [
Roman Poems ] [
Stories from the City of God ] [
The Resurrection of the Body: Pier Paolo Pasolini from Saint Paul to
Sade ] [
The
Cinema of Pier Paolo Pasolini ]
[
The
Passion of Pier Paolo Pasolini ] [
A
Certain Realism: Toward a Use of Pasolini's Film Theory and Practice
] [
Pasolini And Death: Pier Paolo Pasolini 1922-1975: Life-work-myth
] [
A Violent Life ] [
A Poetics of Resistance: Narrative and the Writings of Pier Paolo
Pasolini ] |
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"Despite
admiration for Pasolini as a theorist, I cannot like his films
too much. He often inflicted a portentous mystery on his images,
and was not the most graceful of visual realizers. His strident
compositions were clumsy and monotonous, and his appetite for
faces often overrode the ability to edit shots together fluently.
The style was top-heavy, just as the meanings of his films were
too literary, too immediate, and too inconsistent." -
David Thomson (The New Biographical Dictionary of Film, 2002) |
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"Pier
Paolo Pasolini, poet, novelist, philosopher, and filmmaker, came
of age during the reign of Italian fascism, and his art is
inextricably bound to his politics. Pasolini's films, like those
of his early apprentice
Bernardo Bertolucci, began under the influence of neorealism.
He also did early scriptwriting with Bolognini and
Fellini. Besides these roots
in neorealism, Pasolini's works show a unique blend of
linguistic theory and Italian Marxism." -
Tony D'Arpino (The St. James Film Directors Encyclopedia, 1998) |
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"Although
inconsistent and erratic in the quality of his film work,
Pasolini was certainly among the most intriguing and
controversial of contemporary directors, a complex artist
constantly juggling the conflicting forces that influenced his
art, in a brave attempt to reconcile his allegiances to Marx,
Freud, and Jesus Christ." -
(The
MacMillan International Film Encyclopedia, 1994)
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"Explored myth in enigmatic, sometimes scorchingly humorous and
violent productions." -
William R. Meyer (The Film Buff's Catalog, 1978) |
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"Compared
with neo-realism, I think I have introduced a certain realism,
but it would be hard to define it exactly." -
Pier Paolo Pasolini |
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Please
note that the rating given for this director (see top-right) is based
only on the films we have seen (listed above). Films by this director
that we haven't seen include Medea (1969) and Pigsty (1969). |
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