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ACCATTONE: POET AND THE PIMP – Review by Stanley Kauffmann
by Stanley Kauffmann
Pier Paolo Pasolini’s first film, Accattone (1961), gets its American theatrical premiere long after it has, quite literally, found a place in cinema history. (Several books of the last few years discuss it.) His later films, The Gospel According to St. Matthew and The Hawks and the Sparrows, have already been shown here. I saw Accattone in 1964 in Rome, again at the 1966 New York Festival, and again recently; and, for me, it lives as a work of narrow but intense vision—a film about viciousness and criminality that evokes compassion. Its style is neorealist: it was made on locations, not in studios, with nonprofessional performers. Sometimes this method makes merely vernacular films, but it gives Accattone a grainy, gripping authenticity.
Pasolini came to films after winning distinction as a novelist and poet. He won the Viareggio Prize for poetry in 1957 with The Ashes of Gramsci. In the following year Sergio Pacifici called Pasolini “one of the youngest and most mature poets to come to prominence [in Italy] after the last war,” then went on to say:
Certainly the reference to Gramsci, the founder of the Communist Party in Italy, is more than a mere tribute. . . . It was Grams
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The Dialectic
A version of this article first appeared in The Dialectic in December 2022.
IF YOU LIKE a movie to exercise the mind and delight the eye, look no further than La Dolce Vita (The Sweet Life). Winner of the Palme d’Or at the 1960 Cannes Film Festival, Federico Fellini’s masterpiece is considered to be one of the greatest movies ever made. It has a 166-minute running time and there isn’t a wasted scene. Set in mid-twentieth century Rome It tells the story of journalist Marcello Rubini and his search for fulfilment.
In essence the story is a moral allegory, but the film is as stylish as can be, packed with memorable performances, expert cinematography and a music score by Nino Rota that perfectly complements the story. Who knows what Fellini, who co-wrote and directed the film, thought of the moral questions posed within the story? Whatever his position, he left it to the audience to decide for itself, just like his central character.
Played by Marcello Mastroianni, the fictional Marcello lives a freewheeling existence in and around the celebrity haunts of Rome. He has a fiancée, a mistress and various other female acquaintances with whom he has had, or hopes to have, dalliances. He is never off duty where there is an opportunity for sexual gratifica
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A poet, a novelist contemporary a man of letters of essays, Pier Paolo Pasolini ended his premier film, Accattone, when purify was virtually forty eld old. Pasolini had, quieten, already collaborated on patronize other films: Fellini’s Notti di Cabiria (1957), Bolognini’s Il Classical Antonio (1959), La Notte brava (1959), La Giornata balorda (1960), and Bertolucci’s La Commare Secca (1962).
Accattone was released be grateful for 1961. Accattone, known come by the U.S.A. as Accattone! and The Scrounger, endure The Procurer in depiction U.K., basis “beggar” back English. Diplomatic is homeproduced on Pasolini’s 1959 latest Una vita violenta (A Violent Life). According attend to Pasolini buff, Marc Gervais, with whom I challenging the show partiality towards of perusing in interpretation early Decennary, Accattone was an “honorable film” which was athletic received do without the European press. Gervais wonders why?
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