Word: pasolini
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...Faith and Unbelief in the Contemporary Cinema"-and illustrated it with uncut showings of avant-garde films by Antonioni, Bresson, Bunuel, Dreyer, Pasolini and Bergman. Vatican conservatives howled "Pornography!" when Taddei ran Bergman's erotic The Silence, but the show went...
...bill's climax-it is Leonard Melfi's concluding Night that is the outstanding offering. Void of the earlier comedy. Night is set in a graveyard where the four corners of America have gathered to mourn the death of the enigmatic Cock Certain. Like the impoverished Italians of Pasolini's Teorama these Americans seem to be struggling, each to possess alone the memory of Cock Certain, perhaps their Christ, perhaps their Satan, surely their source of life. Their struggle though is ultimately a dance of death, as yet another enigmatic figure, a man dressed in white pied-pipers the players...
Director Pier Paolo Pasolini is a film festival of contradictions. An avowed Communist and atheist, he made his most celebrated movie an evocation of Christian drama: The Gospel According to St. Matthew. In his newest film, Teorema (English translation: Theorem), Pasolini takes images of voluptuous beauty and physical love and turns them into a film of suppurating ugliness, most of it unintentional...
...during it he manages to make love to the maid, the wife, the industrialist, the daughter and the son of the household. The passion is so indiscriminate and the acting so undisciplined that one half-expects to see the milkman, and perhaps his horse, included in the rutting. But Pasolini has other excesses in mind. When the visitor departs, he leaves behind a shrilling choir of victims. The daughter (Anne Wiazemsky) becomes catatonic; the son, an artist, urinates on his paintings; the wife turns nymphomaniac. The maid becomes a martyr who levitates to prove her sanctity, and the father strips...
...attempt at high metaphysics recalls the warning that mysticism begins with mist and ends in schism. In his soft-centered drama of sex as destroyer and healer, the once promising film maker sedulously apes D. H. Lawrence, whom he seems to have both studied and misunderstood. In the future, Pasolini might well heed an earlier author, whose Sonnet 94 could have been addressed to artists who inflict private fantasies on their public...