Porcile

I thought I was going to be confronted with minor Pasolini here. I was wrong. The same caution applies here though for casual viewers. With Pasolini we come to the foot of a cave where a sage is rumored to live, we can either turn back because there's no ornate ceremony, go back to where we can be told riveting stories about heroes wrestling fate; or sit and listen (not all of it may be intelligible), enter and divine vision.

It opens with young intellectuals in a lush villa ruminating on their exasperations like out of Godard, from the time when revolutions were felt to be afoot. Oh the cause may be worthy in Pasolini's eyes, most likely is; but he makes it a point to show the modern self secluded from it in idle comfort, obsessed with analyzing himself in the scheme of narratives, dissatisfied, full of unrequited cravings and contradictions.

In a separate medieval story we see man as only one more beast of prey alone in the wilderness, reduced to eating a butterfly to stave his insatiable hunger. We see what lurks behind that civilized self that always expects to be pleased, or better, all that had to transpire for endless time in the wilds. It's important here to see both the contrast and the continuity. The cruel nature in man as nature.

And then in a breathtaking scene we're sent scurrying through windswept volcanic rock to see the human beast confronting itself in the crossroads, someone else much like him, alone and wary. There are few scenes more primal than this in cinema.

Back in the modern portion, the same meeting between rivals takes place now with a lot of coy evasion, irony and duplicity, in a palace instead of the wild, over drinks. We see how human structures in place foster collaboration in the end; but it's a corporate one for profit that puts the beast in fine clothes, changes his face even, but leaves the hunger intact.

Pasolini gives us the same barbs about modern life as he has elsewhere, relishing the opportunity, but he's not a sweeping fool; in the medieval portion he makes it a point to show that it's civilized structures, church and army, that go out in the wild to punish wrongdoing, install a semblance of order.

We could be talking for days about what he has woven here. Sin that you control and sin that you don't. Law as necessary civilization. Bartering as control over the narrative (pigsty / WWII in the film). Love that you provide for versus the abstract calling from inmost soul.

So okay, his camera seems sloppy from afar; he wants it to be you who has the chance encounter in these wilds instead of something bled of its reality on a lavish stage, wants it to be primal, madness the gods whisper to you. You'll see near the end some marvelously elliptic narrative as he conjures visions, no accident of sloppiness there; Pasolini is once more anticipating Malick.

And he's aghast at the base nature he sees in him and things, impurity weighs him down; the whole film says, I have these things gnawing inside of me that I'll pay the price for even if I didn't put them there myself. Pasolini at his rawest makes the rocks crack open.

The most riveting thing about it is that we have this seer in the wild of soul, who can bring vision back. He is the one who can't stay for love because something more abstract calls his name. He is the one who strays in the pigsty at nights, who has sinned in the wilds, ate the flesh.

So instead of having a party and drinking and such, I thought I'd see in the new year by watching two offerings from Pasolini, Le Mura di Sana / The Walls of Sana'a (1964) and Porcile (1969).

There are DVD versions out there which have scenes from Porcile in the wrong order, so, at the time of writing, if you want to see Porcile properly you have to have the Region 2 UK Tartan Pasolini box-set.

Porcile, I will say, is a great film. There are two stories that are played alongside each other. Pierre Clémenti is a... well... who knows, a sprite perhaps, in a barbarous medieval setting. It's clear Pasolini has chosen him because he has a hard-on for him, he looks like he's come straight out of a Caravaggio painting. Our sprite and some buddies run around the black slopes of Etna being mad, it's very entertaining, and almost wordless. You can't really believe what you're seeing, it appears that Etna is actually active when they're on it, there is black smoke spewing forth, and the actors run past the most awesomely evil sulphurous cave you've ever seen. So you get to see some fornication, cannibalism, volcanism, and our sprite throwing a human head into the aforementioned evil hole. It's the most purely primal thing I've ever seen, and I've watched Matthew Barney films.

The other half of the movie is set in an Italianate villa in Germany, it concerns on the one hand Mr Klotz and Mr Herdhitze, two industrialists vying with each other for superiority, and on the other hand Julian (playde by Jean-Pierre Léaud), Herr Klotz's son. Julian is portrayed as withdrawing from the human race almost entirely, this is shown to be down to his parents, who self-describe themselves as the type of people who would be painted as pigs by George Grosz, an elitist, although entirely accurate and most wondrous piece of scriptwriting. Julian has no concept of the joy of living or of functional human relationships at all, and so this child of the rich takes to copulating with pigs. Who can blame him as he has only the example of his parents' ruinous and obscure preoccupations, specifically the pursuit of wealth. At one point Julian describes a dream where he walks along a road searching for something at night, the road is filled with shining puddles, and then a little piglet comes a long and playfully bites four of his fingers off, and it doesn't hurt, they come off, as if they were made of rubber. At one point Julian's mother and his girlfriend stand opposite one another describing him, as if he were two completely separate people. And yet he's both. This shows how ideology and prejudice only allow you to see someone, as if through murky water.

Pasolini's drama possess a strong sense of both, humor and commentary, told in the particular way only the director could be capable of, with great poetic-like dialogue, and strong-thought-provoking themes all over the two stories presented, about cannibalism and human relationships, and while the whole flick could be hardly digestible for most audiences, for the small-but-self-aware section that won't mind the twisted-raw depictions over the director's ideologies, this will represent quite the experience.

This is one of the strangest works of Italian writer-director Pier Paolo Pasolini. It interweaves two story lines: The first, almost dialogue- free, tale takes place in an unknown volcanic landscape at an unspecified historical period and involves a young cannibal who leads a band that rapes and murders the local populace. The second tale is set in 1967 Germany and involves the son of a wealthy industrialist who is used as a pawn in a power game between his father and a business rival.

It's well-made with several striking images, but it is very slow, very obscure and challenging. It is a bleakly savage satire on human nature, which will certainly not appeal to everyone. In fact it's a film that is easy to admire, but hard to like.

It is certainly a powerful work of art, but certainly don't expect to enjoy it.

I haven't seen too many Pasolini films. Hardly is there any humour thrown in this one. Unlike, say, Decameron which I really loved, which featured comical shorts, this one, is obscure and hard to explain.

I feel no need for explaining any metaphors, or finding 'what the poet wanna say', the two parallel stories have nothing obvious in common, and while one of them has no dialogues at all (visually impressive, though) the other one is full of it. Interesting dialogues, for love, lust, passion, politics.

For desert there are (for once more) two or three bits of Pasolini's denial of God. I can't help but like such statements! Recommended only to Pasolini fans and fans of old, 'arty' euro-films...