Uccellacci e uccellini

"Uccellacci e Uccellini" is probably the best chance to get acquainted with Pasolini's political thoughts pre-1968 other than reading him. It's a candid, allegoric and provocative attempt to express his ideas about a very specific epoch in Italian history, after the death of left-wing political "father" Palmiro Togliatti in 1964 (whose funeral is one of the great scenes of "Uccellacci") and the "death" of Neo-Realism. It also reflects the intense differences between social classes, intellectual trends and political forces that would lead to the acts of "contestazione generale" in the late 1960s.

WIth "Uccellacci", we can learn some of Pasolini's thoughts on Marxism, Fascism, religion, the Catholic church, the role of intellectuals, the bourgeoisie, political parties, the dire conditions of the campesinato and the borgate (slums), poverty, greed, famine, cultural and social apartheid -- you name it. That's the main problem with this passionately personal and visually stunning walking-road-movie: too many targets, too little time to hit them all in the bull's eye.

A natural follow-up to his documentary "Comizi d'Amore" (1965) -- in which he traveled all over Italy interviewing people about their thoughts on love and sex -- Pasolini shows in "Uccellacci e Uccellini" the unofficial apartheid in Italy, a basically "unmelting" pot of dozens of different ethnic, linguistic and cultural backgrounds "artificially" unified in mid-19th century but still plagued by social/economical/cultural chasm. And he also denounces the sterility of the discourse of the "official-left" intelligentsia, which he clearly despised (and which heavily attacked him on many issues and occasions).

In the Italy of the 1960s, the Left was concerned with the struggle of workers, intellectuals and students against the establishment; the contadini (peasants) weren't even properly considered as a political force -- they were the symbol of archaic, pre-boom Italy. Pasolini was the main voice to take the side of the peasants; against famine, sophism falls flat, as the intellectual crow will shockingly discover at the end of "Uccellacci". The political discourse can no longer be theoretical; it has to be urgent, pragmatic, directed towards action. Godard, Bertolucci, Alea, Ruy Guerra, Resnais and others also approached the theme at the time; but, unlike the majority of intellectual-filmmakers of the 60s, Pasolini ACTUALLY had had a rural (though highly literate) background.

Wildly (in)famous at the time as poet/filmmaker/writer/anti-Vatican political activist (but, contrary to a false general belief, he was never a gay militant, though he certainly wasn't in the closet), Pasolini picks up the journey into the "Italia profonda" from Visconti's "Ossessione" and "La Terra Trema" to most of Rossellini and leaves his own distinctive signature in the very complex era of the economic boom.

Pasolini smartly uses the parable genre with much comic relief so he can talk about serious political issues in a "commercial" film, relying heavily on veteran champion Totò's immense talent, charisma and experience. In one of his last films, Totò is joined by 16 year-old newcomer Ninetto Davoli, here in a completely relaxed, natural performance; they make a perfect duo. The cinematography by master Tonino delli Colli features jaw- dropping locations and compositions. The music by Ennio Morricone is memorable, his very personal touch instantly recognizable; and there are funny sung (!) opening credits. There are two minor letdowns that prevent total audience adhesion: 1) it lacks a brighter tempo, the rhythm falters at times; 2) the episodes are rather loosely linked 3) there are episodes which might be shorter (the wonderful but overlong St. Francis story) and others might be longer (the visit to the rich landowner's house).

"Uccellacci e Uccellinni" is a very personal Pasolini ("my favorite" he said in a 1969 interview) and one of his few films not based on literature classics, mythology or the Bible. It's mandatory for all interested in Pasolini's work and/or the political issues of the 1960s, as well as for fans of the unforgettable, one and only Totò.

How does one describe a film like this? Imagine a Bunuel film like THE MILKY WAY. A couple of men walking on an empty road. They're on a strange journey only their destination is the beginning of their journey (huh?) and the two men are as funny as the best cinema clowns in screen history. Somewhat Felliniesque, somewhat Chaplinesque, throw in a little De Sica and even a dash of Monty Python and you can begin to have some idea of what this incredible blend of absurd and hilarious satire is like. Unlike Bunuel's films, this film is joyous. It has heart, passion, and an imagination springing somewhere from the soul. The film takes its stabs at religion, academics, and government but it does it in a playful way that leaves one feeling rejuevenated instead of that sour feeling that one feels after watching most social satires. It's hard to believe that this is a Pasolini film. It's about as far on the spectrum from SALO that one can get, yet it's sad that in comparison this film is almost completely unknown.

This is definitley worth seeking out on video. I'm hoping that I can find a soundtrack recording for this. It is one of the best Ennio Morricone scores I've heard, which is saying a great deal!

One delightful saturday afternoon spent with this movie at the portuguese Cinema Museum. This picture can be identified as "another Pasolini movie" or as well as "another Toto movie", and both reasons are more than enough to make anyone curious to see it. Pasolini gives us a pleasant Toto comedie, filled with intelectual and political information, pretty well disguised as a fable about birds and priests. After this, I am convinced that a title with the name PASOLINI on it doesn't necessarily have to be a though, brutal, sexual, 3-hour-lengthed filmic exercise. It can be a simple weekend afternoon movie to watch with your parents or your kids. On the other hand, a simple comedy with one of its masters ("toto") doesnt necessarily have to be shallow and basic. This movie is worth a "jump like a sparrow" into a theatre, whenever you have a re-run around.

"Uccellacci e uccellini" aka "The Hawks and the Sparrows" (1964) - directed by Pier Paolo Pasolini

This is a movie that begins like no other introducing the cast and the crew in the manner that is charming, original, melodious and promising of even better things to follow. The fun begins actually with its Italian title, "Uccellacci e uccellini". I don't know about you but the sound of the title simply makes me smile, it sounds like the birds themselves whispered or chirped it to the Pasolini's ear. It is possible to make a satirical philosophical fable concerned with the serious and even grave matters as religion, social and political systems and the order of things and at the same time highly enjoyable, often hilarious, sometimes sorrowful, always original, in one word -Pasolinesque. "Uccellacci e uccellini" talks about desires, death, the meaning of life, Christianity, and Marxism but first and foremost, it entertains. It is about a father (Italian clown Toto) and his young and naive son (Nino Davoli) whom Pasolini sends to the endless cyclical journey on the road of life where they soon will be joined by a talking crow, will be catapulted 750 years back in time and by the request of ST.Francis, they would become two saints (Toto with his clown's face makes a great saint) who would teach the birds (the hawks and the sparrows) the word of God, in the birds' language, of course. The birds seem to agree and accept the words of love but as we know the love comes and goes but everyone (including birds) has to eat and the hunger does not help to improve the understanding between the hawks and the sparrows and between the humans and the crows, even the talking crows. Some were born to kill and to eat the others and there is not much could be changed about it. Two men will be magically returned back to the present time, will go to funeral, will see the baby born, will meet a beautiful desirable girl named Luna who reminds them how divine the fresh hay smells and how much fun it is to make love in it... Their journey would end where it began and on and on and on they go around the world in circles turning. As for the talking crows, "Takers and fakers and talkers won't tell you. Teachers and preachers will just buy and sell you. When no one can tempt you with heaven or hell- You'll be a lucky man!"

"Where goes humanity?" - "I don't know!" Maybe it's a comedy, but I don't think anyone is 100% sure what kind of a film this really is. It's not really comedic, because behind all those absurdities and silliness there lies a seriously political and religious concern, a bittersweet desire and infallible disappointment. Maybe we should take the film as what it is, as one-of-a-kind, a cinematic high jump which gives rise to all sorts of speculation and conjectures without knowing where to start and where it ends.

Not only the viewer is left unsure, the protagonists are, too. They embody the condition of the film's unsureness perfectly, as well as the nature of one of the most unique works of Italian cinema, which is also the most variant and formally abstract film project of Pasolini: A weird story, a picaresque tale which mixes metaphors and cinematic references (from Keaton's statics to Chaplin's poesy of the dusty road to Fellini's clowns to Rossellini's monks); a philosophic apology which depicts the end of ideologies, the crisis of Marxism on the background of the clash of rulers and subjects (hawks and sparrows) and the unfortunate encounter of those who have the blessing of knowledge (the wise raven) and those who outlive themselves without the awareness of being part of this world: Totò and Ninetto, father and son. Both are walking the eternal road of a universe which is merciless, discuss pretentious things and express themselves with the help of their basic instincts: physical needs, but also the hate towards inferiors and subservience to superiors. On their way, they encounter the mystery of life and death (birth of a child, a family that kills themselves with gas, a funeral), as well as the mortal fear of those who starve. Until the raven appears, decides to go along with them and overwhelms them with needless wisdoms.

It's great to see Totò in here, a masterful actor who often was criminally misused in abysmal Italian entertainment movies and shows here the wide range of his talent. The interaction with the young, intuitive Ninetto Davoli is probably the biggest joy in this film.