Posts Tagged ‘Salo’

The biographical film is dangerous territory. There are myriad reasons for this: the hackneyed form of the biopic, the biographical inconsistencies, the expectations that come with portraying a revered figure. Dealing with a master filmmaker is perhaps the most treacherous of territories; if your filmmaking doesn’t live up to theirs, what have you said that they couldn’t more eloquently?

When it comes to Abel Ferrara, director of Pasolini, it is well established that he has balls of steel. Whether it’s his self-starring soft-core debut 9 Lives of a Wet Pussy, the rampant punk horror The Driller Killer, or his hysterical drug cop drama Bad Lieutenant, his resume is replete with the bold, brash and explicit. But how does this confidence lend itself to the subject here, one of Ferrara’s heroes: Italian neo-realist, Catholic, Marxist, poet, writer, director Pier Paolo Pasolini? The results are fresh, authorial and not at all definitive.

Pasolini begins with Pier Paolo (Willem Dafoe) in post-production on a deeply disturbing scene from his final film Salò, or the 120 Days of Sodom, in which young people are raped and exploited by a fascistic political elite after the fall of Mussolini in 1943. It is a show of confidence to begin the film by referencing this famous scene; a scene representative of Pasolini’s disturbing power as a filmmaker. Fortunately Dafoe immediately cuts a striking, if Americanised, version of Pasolini and generating sufficient intrigue in the character.

There is a tone of rumination that is maintained throughout the film, which plays out Pasolini’s final day before his untimely murder. Juxtaposed with the day’s activities are scenes from an unmade Pasolini film, in which the lesbian and gay communities meet on one night a year in Rome to propagate the human race. The cutting back and forth never glimpses us quite enough of one or the other – given the film’s lean 84 minutes – but with a character as complex as Pasolini one senses that Ferrara intends to create a snapshot rather than a complete portrait.

The film does not attempt to provide us with a comprehensive understanding of Pasolini, nor does it attempt to wrap his death up in an overly ambitious poetic, or political logic. What the film does do is glimpse aspects of a renegade thinker and polymath artist, as seen through the eyes of the generation he influenced most profoundly. It is a reimagining and an attempt at humanising the figure. We see him in his role as an intellectual, as a gay man and as a family figure; he was profoundly attached to his beloved mother.

It is in playing to his own strengths that Ferrara makes a success of Pasolini. He is clearly at home working with Dafoe, whose own work as Jesus in Martin Scorsese’s The Last Temptation of Christ was an even more preposterous, yet fascinating interpretation of a figure of moral significance. Ferrara’s own thematic interests are present in Pasolini: ethics, faith, politics and the alienation of modern life. This is the work of a committed fan and student of Pasolini and not one who claims to possess all the answers.

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Pier Paulo Pasolini was an Italian film maker and poet most famous for works such as The Gospel According to Matthew, Arabian Nights and the controversial Salo, or the 120 Days of Sodom. These films were a strange mix of the earthy and naturalistic with splashes of the poetic and exotic. Working in the 60’s and 70’s, he was a controversial figure in Italy both for his open homosexuality and his political activity, with flirtations with the Communist party and constant condemnation of what he considered the ‘bourgeoisie’. In 1975 he was brutally murdered in Ostia, outside Rome. The circumstances surrounding his death are still debated to this day.

Director Cathy Lee Crane has created a filmic collage of the year leading up to Paolini’s death using a mixture of reconstructions, documentary footage, photographs and the auteur’s own words. The film details his fight against the political right in Italy and his observance of a breakdown in society, his sexuality and his work as a film maker. The focus on his films is mostly on his debut Accattone!, although there are references to his final film Salo. The documentary maker creates a vivid portrait of a complex artist with a strong moral foundation.

The film has a dreamy, poetic quality, which is mostly down to the elliptical editing and Pasolini’s graceful, thoughtful ruminations. The director chooses to reconstruct some of the scenes of Accattone! which seems like a slightly pointless exercise, and some of the other narrations come across as overly portentous, but most of Cathy Lee Crane’s experiments work well. The director has eschewed a typical documentary biopic in favour of a more experimental bent, which fits in with Pasolini’s body of work.

Although Pasolin’s Last Words is a compelling and hypnotic depiction of Pasolini’s last year, you get the feeling that there is much more to explore in Pasolini’s life. This documentary feels like a juicy taster for a more rounded and complete documentary of Pasolini’s life and career, stretching from his earlier days. Pasolin’s Last Words is an accomplished film for viewers already familiar with the late Italian’s work, and ready to explore the man in a more meditative manner.

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