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Subject: ON SCREEN: Pasolini: An Italian Crime
From: eye5@interlog.com (eye WEEKLY)
Date: 1996/06/05
Message-ID: <4p5e92$hdt@gold.interlog.com>
Newsgroups: eye.news,rec.arts.movies.reviews
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eye WEEKLY June 6, 1996
Toronto's arts newspaper .....free every Thursday
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ON SCREEN ON SCREEN
PASOLINI: AN ITALIAN CRIME
Starring Carlo De Filippi, Nicoletta Braschi and Tony Bertorelli.
Screenplay by Marco Tullio Giordana, Stefano Rulli and Sandro
Petraglia. Directed by Marco Tullio Giordana. Italian with subtitles.
(AA) Opens June 7.
(eee of 5 eyes)
by
KATHE GRAY
Pier Paolo Pasolini is renowned for the contributions he made to the
world of cinema. I know this from a film course I took in university.
Not that I got to see any Pasolini in class -- his material was
considered too explicit, too graphic, too sexually liberated, for a
bunch of sophomores. Instead, we watched The Bicycle Thief.
Fast forward a few years and I still haven't seen any Pasolini. I
have, however, watched a lot of Law And Order and that's mostly what
Pasolini: An Italian Crime reminded me of: an Italian L&O with actors
dressed in that evil polyester garb people so liked in the '70s. Other
than the clothes, this is not a bad thing. I like L&O, I like seeing
how the twin institutions of law and justice work in concert, I like
how sometimes the bad guys win.
Not that Pasolini is simply the story of good guys and bad guys. It
is, after all, about a great man's death. Pasolini was an outspoken
leftist ideologue, an artist with a flair for the sensational, and an
openly gay man. He died as he lived, controversially and in the public
eye.
When his body was found savagely beaten and murdered by street
hustlers, his death was dismissed by some as "one of those faggot
things," and mourned by others as "a crime against culture." While
Pino Pelosi (played by Carlo De Filippi) was sentenced for Pasolini's
murder, some speculated that the death was a hit orchestrated by
fascists who feared his popularity and intellect. Botched crime scene
protocol, delayed witness interviews and an incomplete autopsy lend
credence to the theory. But we'll never know for sure: like the best
of L&O, Pasolini ends with fewer answers than questions.
Visually straight ahead, Pasolini: An Italian Crime lacks the artistry
that I've read characterized Pasolini's films. However, there are
moments where grainy footage of the real Pasolini, of the 1975 crime
scene, of squatters and hustlers, are intercut in Jarman-esque
montages -- the strangely moving poetry of death.
In conjunction with the release of the film, an exhibition marking the
20th anniversary of Pasolini's death, entitled "From the Fields of
Friuli to the Canadian Universities," which features original
manuscripts, first editions, artwork and archival material, runs to
June 14 at the Robarts Library (130 St. George St.).
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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