“Comizi D’Amour”, a new film in Argentina by Pier Paolo Pasolini

So don’t say no one warned. This Friday and this Friday only in two single performances – at 3 p.m. and 6.30 p.m. – it can be seen in the Leopoldo Lugones room of the San Martín Theater. A feature film not yet released in Argentina Pier Paolo Pasolini, at the opening of a circle dedicated to the celebration of the centenary of the birth of the great Italian poet and filmmaker. is about love rally (1964), a very short broadcast PPP documentary which, thanks to the Italian Institute of Culture, is available exclusively in a restored version in 4K by the Cineteca di Bologna in Rome.

Included in the “100 Italian Films to Save” list that was made at the 2008 Venice Film Festival, love rally It was called film-investigation at the time., where Pasolini, microphone in hand, asks hundreds of Italians from all over the country, from north to south, men and women, children and the elderly, what they think of love, sex, relationships marriage, infidelity, homosexuality, prostitution and divorce. . So many almost taboo subjects until then in a society dominated by the Roman Catholic Church and in a country governed by Christian democracy.

In fact, Pasolini had just faced furious attacks and even a criminal trial. “defaming the state religion” because of his short film ricottaParticipation in the collective feature film Ro.Go.Pa.G, (1963), and already . I was looking for settings for my controversial version of Gospel according to Saint MatthewThe premiere took place in 1964 at the Venice Film Festival without scandal. But as always with Pasolini, in love rally They were not motivated by the desire to provoke, but to know, to know firsthand, through the voice of the people, and also of the small capitalists, what they thought about issues that were never publicly debated. In front of a camera and a microphone. And finally, to question the ideas that have been forged and consolidated over the centuries and the perceived modernity of the Italian “economic miracle” of those years to disappear. a modus operandi, by the way, that his first two feature films petitioner (1961) U mom roma (1962) vehemently denied.

the film starts “Love Rally” (“Comizio” in Italian is a public meeting of a political nature) Happy and relaxedPasolini himself happily approaches the swirl of children waving in Palermo’s square in front of the centuries-old walls of a church and exclaims, “Let’s hear what these scoundrels have to say…” and he asks them if they know how they were born. They doubt, laugh embarrassed and take risks: “D’un chou” shouts. “The stork brought me” confirms the second. “God puts us in a basket”, assures the third. Until another mischievous growls between his teeth: “I came out from under the covers.”

It is only the prelude to a film whose 92 minutes will always have the same freshness and the same spontaneity, while Pasolini attends the gatherings he provokes himself with his own camera with extraordinary ease, as if he was one of the interviewers, not this interviewer. . Title of the first chapter of your investigation –“Large Italian mixed fries”– It is also to reveal the humor with which the director approaches his subject, with the exception of three or four brief intervals, in which between one segment and the next, Pasolini finds himself exchanging impressions with his friend, the novelist Alberto Moravia and – Lets provide. The psychoanalyst Cesare Musatti, unable to reflect on the level revealed by the film itself: the profound differences between the North and the South, between the enlightened bourgeoisie and the illiterate peasantry, between the large manufacturing towns and the small towns of the old Sicily.

The greatest achievement of Pasolini’s film is that it fights against prejudice and ignorance – in his own words – “A simple, flowery and fraternal dialogue”, We can say that his method is mnemonic: from one question he takes another and another until the interlocutor in question discovers the truth for himself. Or he affirms his most unshakable convictions, as in Calabria or Sicily, where he rarely questions women, because only men speak there. That amid the jokes and raucous laughter – sometimes even the sound disappears and a capitalized banner declaring “self-censorship” appears on the screen – they confirm the power of jealousy and even who prefers murder to divorce, because “if I divorce I will be a cuckoo for the rest of my life”, as in a boy who is not even married yet.

However, it is clear that Pasolini’s sympathies are with him and not with the students of the University of Bologna. “The South is old, but it remains intact,” he notes. “These are laws for the poor, but real.”


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