Perhaps, in this case, Accatone was not a party animal journalist who sought ephemeral pleasure in social middle-class gatherings and women, but the spirit is, by itself, maintained astonishingly faithfully: Accatone is no longer a protagonist in Pasolini's movie, doomed to descend lower and lower in social class, losing both his dignity, his social acceptability and his profound "style", but a symbol, a metaphor for Pasolini's own political beliefs. In fact, the movie's tragic hero, Vittorio Accatone, is a dark alter-ego of yet another favored Italian movie character, embodied only a year before by Marcello Mastroianni in "La Dolce Vita". A sense of irresponsible opportunism is seen in this film, almost no regrets for the past and no fears for the future. Gangs, prostitutes, lies and deceit lie in this film's core. "Accatone" is, at its best, a chunk of life, which Pasolini managed to extract not as it initially was, but dramatically filtered through his own personal lyrical gaze. Pasolini's first film "Accatone" is exactly as one would expect a typical Pasolini film to be: wreathed in raw violence, and shot with a brilliant sense of poetic slash brutal realism, reminiscent of the neo-realism era, and perhaps, if not for sure, a semi-autobiographical portrait of life in the streets of Rome's peripheries.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
February 2023
Categories |