Pasolini

a homage. and a sketch. visual poem. and touching story. not very clear but useful for remind a splendid work. a director. and crumbs from his universe. a film who must see twice. or more. because it is a kind of puzzle. and not the presence of Ninetto Davoli or the physical resemblance between Dafoe and Pasolini is the best side but the story itself. the last days of a man in search of the real form of truth. it seems be obscure or too complicated. it seems be only a drawing and not real a coherent film. but it is admirable axis for reflection. about the themes of Pasolini's filmography. about the subjects, decisions and idealism. about Salo meanings. about sense of art. about new adaptation of the Renaissance 's ideal. about a form of revolt and freedom and fight to discover the essence of existence behind masks.

Defoe is not demanded. A documentary would be more enjoyable, if this could be said.

Although beautifully shot and well acted, this movie is fairly disappointing and inconclusive. It doesn't really say much about Pasolini and the oniric scenes just fall flat.

Sometimes a director wants to pay hommage to a past legend. We have seen it many times with talented directors like Tarentino, De Palma and others. You tell a story and you insert scenes like the masters and you move on, please don't ruin the mystique of masters of illusion by doing boring A DAY IN THE LIFE OF.... When you try to shoot biographical episodes, you are doing a high wire act in high winds. You are most likely to fall flat on your face and seriously injure your reputation. This is the case here. PPP was a shock jock whot reveled in visual controversy and in his writings. He was a combo of Bunuel-Dali-Picasso-Zola. To show his last day was about as interesting as reading the one word Twas and closing the book on A christmas carol. Move on people! there is NO story here

I remember the reporting on the sordid killing of poet and director, Pier Paolo Pasolini but was stunned to learn it took place as long ago as 1975, just after the completion of Salo. The last day or so of Pasolini's life is told here in a fittingly realistic and dark way but with clips from that last (very difficult) film and newly shot sequences from the director's script for a newly proposed enterprise, once more mixing the magical the religious and downright dirty. Ferrara is, of course, as uncompromising man as his subject and this believable portrait is simply that rather than some flattering or ego boosting enterprise. Willem Dafoe's performance is quite amazing and the look he achieves quite uncanny, Having an Italian wife who adored Pasolini seems to have helped him with this but it is a truly astonishing performance within a very good film. Neither Ferrara nor Pasolini have produced work that is the easiest to enjoy but nor can either be ignored.