Whether these actors could handle the dialogue was beside the point. For Mary at the time of the Crucifixion, he cast his own mother. thin, stoop-shouldered, heavy-browed, anything but the muscular Christ of Michelangelo."įor his other roles, Pasolini cast local peasants, shopkeepers, factory workers, truck drivers. Irazoqui had never acted, but Schwartz quotes Pasolini: ".Even before we had started talking, I said 'Excuse me, but would you act in one of my films'?" Schwartz describes Irazoqui as the ".son of a Basque father and a Jewish mother. Pasolini's Christ is Enrique Irazoqui, a Spanish economics student who arrived to talk to him about his work. The movie was made in the spirit of Italian neo-realism, which believed that ordinary people, not actors, could best embody characters - not every character, but the one they were born to play. Matthew," which tells the life of Christ as if a documentarian on a low budget had been following him from birth. That is certainly the case with "The Gospel According to St. Pasolini's is one of the most effective films on a religious theme I have ever seen, perhaps because it was made by a nonbeliever who did not preach, glorify, underline, sentimentalize or romanticize his famous story, but tried his best to simply record it.įull credit: I learned the story of the hotel room and found much of the other information below from Barth David Schwartz's Pasolini Requiem, an invaluable book about the artist, whose work ranged from the profane to the divine, and whose untidy private life ended with his murder in a city wasteland.Īlthough Pasolini directed some 25 films (most famously "Accattone!," "Hawks and Sparrows," "Salo, or the 120 Days of Sodom," "The Decameron," "Mamma Roma" and " Teorema") and contributed to the screenplays of Fellini's " Nights of Cabiria" and " La Dolce Vita," he considered himself a poet before a filmmaker, and his films are built of images, impressions and words that sometimes function more as language than as dialogue.
0 kommentar(er)
