Tabba In D-Shirt

Aeneas, I think this film is primarily an anti-capitalist film; it’s made by someone who in the past had the membership card of the P.C. But do you think that’s enough to claim that his works are primarily a way of doing communist propaganda? Pasolini was not Eisenstein; Pasolini's works, although always in conflict with censorship, were not subject to revisions by Stalinist bureaucrats. And Pasolini, unlike Eisenstein, never humbled himself with self-criticisms as the Russian did to ingratiate himself with the regime if he wanted to continue practicing his profession. What does this conclude? It’s pointless to try to find a common ground between the intelligentsia and the left party. The fact that Marxist members were among the greatest artists of the last century doesn’t bother me at all. These artists found themselves working in a world that had already surrendered to capitalist production and internationalization, where Marxist religion clashed with Catholicism to impose dogma (try watching Europa 51 by Rossellini with the protagonist who has to choose between the two options right/left, church/Marx; otherwise, she will be committed by the institutions. The film ends with her being committed, in a scent of secular saintliness. Would you call this a film by a Marxist? Yes, I know that Rossellini had the membership card of the P.C., but as an artist, does this film reflect a counterposition against a world hostile to Marxism? Not for me; the protagonist embodies the latent anarchy of her utmost desires, of what she truly wants to do in life).
You say Salò is a Marxist film? I say Salò is an anti-fascist-capitalist film first and foremost, made by a (former) Marxist. An anarchist like Proudhon coined the expression ‘proletarian art,’ not a Marxist. The origins of these terms therefore reside not in Marxism but in anarchism and reflect all the rough and confused characteristics of anarchist thought. The post-68 Pasolini is thus an anarchist and would have become even more so in the years to come if he hadn’t been killed. The pre-68 Pasolini is certainly more alignable within Marxism, portraying the lives of the poor and the proletariat of the streets in Accattone, Mamma Roma—great films for sure—but these things were already shown by Rossellini and De Sica in the 40s. I celebrate the excess of post-Marxist Pasolini, both as a writer and as a filmmaker, the post-Pasolini who would have truly led to something never seen in history. I’m not saying that pre-68 Pasolini made garbage (Accattone, Mamma Roma, The Gospel, Oedipus Rex—great films, but always with an eye towards the tradition of Rossellini and De Sica). After all, Fellini once told him around '62 to give up cinema and dedicate himself to poetry.

great Aeneas, you too are a connoisseur of Visconti. my political ideas? the left intelligentsia has always been relegated to a corner by power, I’m talking about Italy of course, do you think the left intelligentsia has ever influenced those who held power? no, always fiddling around, not even opposition but truly an antagonistic element, to be eliminated, just as Pasolini was eliminated. so I don’t think there’s much to reconcile given that those leftist cultures have never had the means to become a guiding or legislative pamphlet. regarding cultural ideas, they are not the same as my views on politics; the intelligentsia is the intellectual class, not the political one. and it should also be noted that pre-68 Pasolini and post-68 Pasolini are two distinctly different people; post-68 Pasolini was already far removed from the usual leftist clichés to the point that he said that the 68 movement was nothing more than a false revolution. he was horrified by the revolutionaries and the communists, stating that "those young revolutionary students are not, as they imagine, the light of the communist future; they are certainly the light of the future, but of the neocapitalist one." the cultural hegemony of certain left was only at the level of utopia; I don’t see major traumas regarding irreconcilable ideals. but perhaps for you it’s unacceptable that someone horrified by communism should laud Pasolini’s works. read post-68 Pasolini (in terms of journalism), seven years spent exposing inconsistencies to tear apart the pseudo-revolutionary communists and the red intelligentsia born from 68, the one that still dominates leftist thought.

There are not a few serious cases like this little girl Davejon, unfortunately, especially among young people, regardless of gender, and self-criticism is always difficult. It's hard for these young people to renounce the life, the ideas, the imaginary they live daily, even if they are false ideas and imaginaries. Stopping at appearances is typical of simple spirits; in reality, this is a profoundly desperate film, from someone who already knew how it would end. It’s hard for many to accept the fact that everything shown in the film is a metaphor for the daily life of each of them. Human wickedness is a certain fact, and good is often just a path of kindness tied to guilt: thus absolutely inauthentic. Therefore, I wouldn't even feel entitled to kick people like this little girl; one must simply realize that they exist. Italy is full of such people, they are the majority, and the majority all too often represents indifference, like in the ballet that closes the film, absolute indifference towards the most atrocious violence, towards everything.

You made a more than worthy review for a film of this magnitude. In my first comment, I gave it a 4; let's say it would have taken many pages to capture all the aspects of this film. For example, I would have liked it if the fact that the victims did not make any attempt to rebel against their abusers (except for one who raised a clenched fist before being shot) was emphasized better. I think this trait is very important to understand the distrust that Pasolini had towards the "submissive flock" (I see the people even in those victims). However, you fully captured the anti-fascist message (which was also anti-capitalist), and you talked about POWER and the true nature of power. As someone says in the film, "fascism is the only real anarchy that can be realized on this planet; the fascists are the true, unique anarchists."

Pasolini was one of the last figures capable of showing us what we would become if we conformed to what the system was serving us. I'm not surprised that many young people in Italy do not respect him; I almost feel ashamed to be Italian. Abroad, Pasolini is regarded as a master; here, he is ruthlessly attacked, not for what his films reveal, but for who he was and for the ideology that, according to some, he promoted, when in reality Pasolini, like all true artists, promoted nothing at all. He lived, rather, on his own skin.

If Pasolini hadn't been killed by the Italian state, he would have already started working on the second chapter of this trilogy of death, "porno teo kolossal" it was supposed to be called. I can't help but think of the shocking stuff that would have come out; reading the primordial script, I believe it would have been yet another step forward into shock and horror. We hadn't seen anything yet; it's a pity they killed him. We had someone in Italy truly capable of daring, and as usual, he was taken out of the picture.

don't even save violent Naples happy? the plot is incredibly predictable of course, given that Merli is the superhero, but without these Tarantino titles he’d probably be at home and broke, who knows how many times he must have rewatched MILANO ODIA: LA POLIZIA NON PUO' SPARARE

dichotomy of order/chaos, the first act showcases order (almost an unconscious desire for self-destruction, as seen with the marine instructor who continues to give orders to a lard ball despite the fact that he's aiming a loaded gun at him), in the second act the disorder of war, Kubrick clearly states that the order man strives for in his mad attempt to control everything will inevitably lead to the failure of every project. Kubrick has accustomed us to the dichotomies in his films between the first and second acts, the same thing happens in A Clockwork Orange. Another important message of the second part of the film: the biased way journalism is practiced by journalists at the core, which has a significant impact on public opinion; what matters is what the news messenger wants to convey, regardless of whether the information shared is true or false... not the last great war film released (there was Malick's The Thin Red Line) but certainly among the top 5 in the genre.

In my opinion, with the mafia trilogy: Milano calibro nueve - La mala ordina (Adorf's best performance) - Il boss (I think the best of the director), Di Leo is on the same level as Don Siegel of Dirty Harry, I'm not exaggerating. He receives the tribute he deserves. PS: Am I wrong or does Lenzi bother you??

Well, in fact the phrase "if you don't eat, you can't die" sheds light on the true intentions of this deadly ritual disguised as a debauchery of indulgence.