Uccellacci e uccellini (1966)

The Hawks and the Sparrows: Pier Paolo Pasolini opens the credits through song, just as Preminger would close his two years later in Skidoo, not a dissimilar jaunt through a culture pulled every which way by ideological impulses. A scoffing quote from Mao and the road is wide open, with stylized, regally double-taking Totò and Ninetto Davoli, his bouncy cretin son, strolling down in search of, if not yet enlightenment, then at least metaphysical slapstick. Youngsters shimmer to Ennio Morricone's rock 'n' roll, though this is Pasolini's Italy – sullen girls suddenly pop up decked in angelic attire amid the rubble, and the duo finds a traveling companion in a pedantically talking crow, a "left-wing intellectual" born from Signore Doubt and Signora Conscience.

Fernando F. Croce, Cinep...nglish .srt subs