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| Pier
Paolo Pasolini |
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| Director
/ Screenwriter / Actor / Producer / Editor |
| 1922 - 1975 |
| Born March 5,
Bologna, Emilia-Romagna, Italy |
| Key
Production Countries: Italy, France |
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Key Genres: Drama,
Comedy, Religious Drama |
| Key
Collaborators: Nino Baragli (Editor),
Tonino Delli Colli (Cinematographer), Franco Citti (Leading Player),
Alfredo Bini (Producer), Ninetto Davoli (Leading Character Player),
Ennio Morricone (Composer), Alberto Grimaldi (Producer), Laura Betti
(Leading Character Player), Giuseppe Ruzzolini (Cinematographer), Luigi
Scaccianoce (Production Designer/Screenwriter) |
| 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), Salo, or the 120 Days of Sodom
(1975) |
| Links:
[
IMDB ] [
TCMDB ] [ All-Movie
Guide ] [ Senses
of Cinema: Great Directors ] [
Film Reference ]
[
Pasolini.net ] [ Kamera
Article ] [
A
Pasolini Fan Page ] [ Pasolini
Profile ] [
Official Pasolini Website (Italian) ] [
Telegraph Article (2007) ] [
Film
Comment Interview (1965)
] |
| Books:
[
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 ]
[
Pier Paolo Pasolini: Poems ] [
A Poetics of Resistance: Narrative and the Writings of Pier Paolo
Pasolini ] |
| DVD's:
[ Amazon
] |
| 1,000
Greatest Films:
Accattone (1961), The Gospel According to St. Matthew (1966), Teorema (1968), Arabian Nights (1974), Salo, or the 120 Days of Sodom
(1975) |
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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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