Word: pasolinis
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First, though, let me emphasize the virtues of Pier Paolo Pasolini's work, for it is surely the best new movie to arrive in Boston this year; defects appear only when it is compared to the master-pieces of its genre...
...Second, Pasolini often pans across a blurred background, following the face of a running man. The emotional impact of such images underlines what I take to be the dominant image of the film: Christ walking through Israel, tracked from behind...
...Third, Pasolini has used the "zoom" lens both ostentatiously and successfully--an unprecedented combination. Somehow a "zoom" shot always seems a portent of Revelation--which is what Pasolini uses it to depict...
These near-mannerisms are gambles that Pasolini wins, elements of style he succeeds in establishing. Still, the film is rough-hewn, no work of perfectionism. Other gambles he loses...
...Pasolini's nervous, mobile camera scores great triumphs in crowd scenes, where it permits us a fascinating sense of participation, as in documentary. But it has its liabilities too. Just after Jesus is tried we see one of the disciples on an empty street, crouching against a wall. The street is still, he is still, he is alone; it is illogical and disturbing that our image of him jerks up and down...