Cinematheque Ontario presents - Pier Paolo Pasolini

THE RESTORED WORKS OF PIER PAOLO PASOLINI

Playwright, novelist, painter, poet, communist and film director Italian Pier Paolo Pasaolini was known to made the most controversial films.  His Salo: The Last 30 Days of Sodom was selected as the most controversial films of all time by TIME OUT magazine. 

This film, if ones stomach can take it contains scene of torture, ***censored*** consumption and human degradation.  His most accessible film Mamma Rosa with Anna Magnani, though strange tells the story of a prostitute and her son after the war. 

Cinematheque Ontario presents an exhaustive list of his films, the retrospective beginning this week.  Difficult to take, but this film show genius and non-compromise in his art.

The complete list of films screened includes: 

ACCATTONE
HAWKS AND SPARROWS
LA RABBIA DI PASOLINI
LA RICOTTA
LOVE MEETINGS
MAMMA ROMA
MEDEA
NOTES FOR AN AFRICAN ORESTEIA
OEDIPUS REX
PORCILE
SALÒ, OR THE 120 DAYS OF SODOM
SEEKING LOCATIONS IN PALESTINE FOR THE FILM
THE GOSPEL ACCORDING TO ST. MATTHEW
TEOREMA
THE ARABIAN NIGHTS
THE CANTERBURY TALES
THE DECAMERON
THE GOSPEL ACCORDING TO ST. MATTHEW
WALLS OF SANA’A

For complete program, showtimes, ticket pricing and venue, shcek the Cinematheque website at:
http://www.cinemathequeontario.ca

A few of the films are capsule reviewed here.  Check this site again in a few days for more reviews:

Directed by Pier Paolo Pasolini

Arguably the best, most accessible of all the Pasolini films, aided by the strong presence of actress Anna Magnani, MAMMA ROMA tells the story of ex-prostititute known by the said name who aims for a better life selling her wares at the local market stall.  The impetus is the love for her 16-year old son who gets into trouble by hanging around bad company.  MAMMA ROMA contains many memorable scenes, one with mother and son dancing the tango, another where she brings three pigs to the wedding feast of her ex- pimp and the best has her walking through the night, with her ex-clients moving in and out of the camera frame.  All comes to naught when the son Ettore (Ettore Garolfola) learns of his mother’s past profession.  I still love my mother he confesses, as I will still cry if she dies.  The funniest part of the film is the priest’s advice to her to start from scratch to solve her problems.  She realizes it is not possible but sends her son to school instead.  When she attempts to jump out of the window in desperation, the shot of the church dome illustrates the irony of her life.  The film brilliantly depicts director Pasolini’s view of Italian life that what goes wrong comes from the people themselves, society and religion.

(Screening July 8th 7pm, 11th, 4 pm and 14th 7 pm)

MEDEA (Italy 1969) ***
Directed by Pier Paolo Pasolini

The infamous 2,500 year old Euripides play of a mother who murders all her children to get back at her unfaithful husband is given the Pasolini treatment in his film version (lots of pretty Latino boys prancing around) and interpretation of the Greek tragedy.  Pasolini enlists the aid of opera star Maria Callas is her non-singing role as the eyes piercing sorceress whose desire for vengeance knows no bounds.  Beautifully set and scored with wind and percussions reminiscent of African sounds, the setting is as pagan as it is brutal.  Human sacrifices to bring forth fertility of the land coupled with the search for the golden fleece bring more harm than good to the people concerned.  The film starts with a lengthy monologue delivered by a sexy centaur followed by mostly a dialogue-less soundtrack.  Pasolini’s MEDEA is too difficult to follow at times, a bit too artsy and graphically violent for its own good, but nevertheless unforgettable as a Pasolini interpretation.
(Screening; July 9th, 9.15pm)

LA RABBIA DI PASOLINI (Italy 2008) ***
Directed by Pier Pablo Pasolini

In his essay on life, politics and war, Pasolini put together LA RABBIA DI PASOLINI (THE RAGE OF PASOLINI) that was heavily censored during its original release.  Cinematheque Onatrio presents a 2008 version which is a reconstruction and restoration of the original work.  LA RABBIA was constructed from ninety thousands metres of newsreel footage by Pasolini – often with no logic or chronological order.  Yet, his images are arresting as are his views as narrated over the soundtrack.  Particularly disturbing is the way he forces his ideas on film, without a care of repercussions.  (His view on the French are intriguing though the reason of his detest is never made 100% clear.) Despite the film’ mainly angry tone, there are a few humorous edges such as the musical number acted out by the pimp, the prostitute and the prissy.  An interesting and highly personal film that might not affect everyone positively! 
(Screening: July 12th 7 pm)

SALO OR THE LAST 120 DAYS OF SODOM (Italy 1975) ***
Directed by Pier Paolo Pasolini

Banned in many countries even up to this day, Pasolini’s SALO remains one of the most graphic sexual, perverse and degrading films ever made.  Based on the novel by the Marquis de Sade and re-set in Northern Italy during the Mussolini’s days, the film recounts the goings-on in a villa as 4 wealthy, corrupt fascists who kidnap 18 young boys and girls and subject them to indescribable horrors.  The film takes an observer’s view and though no judgment is made on any character, one cannot help but detest the 4 responsible for what happens on screen.  Quite a few of the acts are unwatchable especially those involving a wedding party consuming of a huge meal made of feces and another of a leashed girl whose mouth is all bloodied after taking in food stuffed with sharp nails.  The sexual acts are more disgusting than anything else and devoid of eroticism (excepting the consummation of a marriage by a fascist and his young male bride and some kissing by the bishop).  See this film if you dare or curious enough, but be forewarned that SALO is not entertaining in the least bit.  Unforgettable it is, no doubt!
(Screening Aug 3rd, 7pm)

THEOREM (TEOREMA) (Italy 1968) **
Directed by Pier Paolo Pasolini

The leading lady in this notorious gay director’s film is not Silvana Mangano but British star of the time, Terence Stamp.  Speaking a little Italian, Stamp leaves his mark on an industrialist’s family as he seduces each member, staring with the father and son.  Though no graphic sexual scenes are depicted on screen, THEOREM or TEOREMA (in Itlaian) caused quite a stir when it first opened during its day.  The story of an intruder sexually ‘assaulting’ a bourgeois family has also been done in other films, like the noticeably British fare, SOMETHING FOR EVERYONE with Michael York in the Stamp role.  Pasolini leaves his mark as well, imposing his view on various subjects, such as his distaste for painters and Marxist political view.  But his film feels too much of an art film, with the images of his characters floating too slowly on screen to create much of an impact.
(Screening July 10th 7pm)