Pier Paolo Pasolini - Accattone (1961)

Pasolini's first film Accattone is a harrowing, realistic and unsentimental look inside the slums of Rome, where its dinizens the prostitutes, hustlers and petty thieve attempt to eke out an existence any way they can. (-DVD Cover)



Pasolini's first film is a painfully realistic study of a pimp in Rome. Vittorio Accattone has never worked a day in his life, and has apparently made a good living prostituting his female companion, Maddalena. But her arrest begins his decline; hungry, he begs from churches and even visits his estranged wife and son. When Stella, a lovely and unbelievably innocent peasant worker, enters his life, Accattone tries to find a way, honest or not, to bring back good fortune… (http://imdb.com/title/tt0054599/plotsummary)



In the poor periphery of Rome of the 60's, the despicable caftan Vittorio "Accattone" Cataldi (Franco Citti) is maintained by the hooker Maddalena (Silvana Corsini), spending the time with his useless idle friends. When the prostitute is arrested for perjury, the pimp "Accattone" has nobody to support him, but he seduces the naive worker Stella (Franca Pasut) and she becomes a prostitute. However, Accattone has a crush on Stella and decides to find a way to support her, with tragic consequences. (http://imdb.com/title/tt0054599/plotsummary)


Accatone is an interesting film because Pasolini exposes to his audience a particular lifestyle and social class which would not be accurately touched on in an American picture. If Hollywood had ever discussed Accatone's subject matter they would display it with all its stereotypical adornments and falsities which most US moviegoers are accustomed to. Pasolini is not afraid to present the grittier side of the subproletariat as is epitomized in the film's main character, Accatone, who struggles with his profession of pimping and becoming more sensitive to his women and to the world. Pasolini's debut is delicately permeated with political concepts and allegories, yet we can see that he is experimenting newly with the technique of film and developing a filmic narrative structure; more of his full-fledged sociopolitical allegories would be pursued in films like The Gospel and Hawks and Sparrows. The film stars Franco Citti who at the time of making of the film was a nonprofessional. However his performance is substantial considering him being a novice and having his voice overdubbed by another actor. Citti would soon become a Pasolini regular, starring in Oedipus Rex, Arabian Nights, and other supporting roles. However, as the film progresses the attention is centered on the female lead, who plays the naive soon-to-be callous farm worker who is duped by Accatone into prostitution. Before Pasolini ventured into the cinema he had a knack for writing. In his first two novels Pasolini had utilized the language of his mother's homeland, Friuli, for colloquial discourse amongst his characters who lived in subproletariat communities. It is not surprising that the subject of these novels would be the focal point of Accatone. In addition I believe Pasolini had rendered his ideas (from his literature) appropriately for his film, yet not becoming to carried away with fidelity and technical aspects which are profuse in films today. To this day there are apparently no film directors as consciously aware of his country and goverment as Pasolini was and that would transcend these beliefs into his art with controversy yet at the same time subtlety. (www.amazon.com)






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Pasolini - Accattone Part01
Pasolini - Accattone Part02
Pasolini - Accattone Part03
Pasolini - Accattone Part04
Pasolini - Accattone Part05
Pasolini - Accattone Part06
Pasolini - Accattone Part07
Pasolini - Accattone Part08
Pasolini - Accattone Part09
Pasolini - Accattone Part10
Pasolini - Accattone Part11
Pasolini - Accattone Part12
Pasolini - Accattone Part13
Pasolini - Accattone Part14
Pasolini - Accattone Part15

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