Pier Paolo Pasolini - Salò o le 120 giornate di Sodoma AKA Salo, or the 120 Days of Sodom (1975)

Set in the Nazi-controlled, northern Italian state of Salo in 1944, four dignitaries round up sixteen perfect specimens of youth and take them together with guards, servants and studs to a palace near Marzabotto. In addition, there are four middle-aged women: three of whom recount arousing stories whilst the fourth accompanies on the piano. The story is largely taken up with their recounting the stories of Dante and De Sade: the Circle of Manias, the Circle of Shit and the Circle of Blood.

MRQE Reviews list









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http://www.fileserve.com/file/Kq5sF3k/Salo.Or.The.120.Days.Of.Sodom.1975.CD2.iNTERNAL.BDRip.XviD-FLS.part7.rar

no pass

Pier Paolo Pasolini - I Racconti di Canterbury aka The Canterbury Tales (1972)

SYNOPSIS

From sun-sparkled Naples to muddy medieval England for chapter two of Pier Paolo Pasolini's Trilogy of Life -- and with all the cornholing, golden showers, and silent-movie mugging Chaucer left out. The most amorphously anecdotal of the three, it's also the one where the discrepancy between the movies' notional life-affirmation and the brackish despairing of their execution emerges most grotesquely, every stab at "joyous" sexuality followed by the self-reflex of grotty degradation.



The catalogue of romping, cuckolding, trickery and flatulence is X-rated Monty Python, scribbled by Chaucer (Pasolini, of course) while chortling at a copy of The Decameron -- indeed, the Merchant's Tale concludes with the husband's (Hugh Griffith, in full, cawing Tom Jones mode) sight restored by the porchside lovebirds from the Boccaccio adaptation, just in time to see his wife (Josephine Chaplin) being felt up.



Pasolini pays tedious tribute to Josephine's dad by turning the Cook's Tale into a one-reeler with Ninetto Davoli in Little Tramp bowler; Dan Thomas is interrupted mid-grope with Jenny Runacre and resumes praying with his pants bulging, before the Miller's Tale wraps with her giving her young suitor a face-full of fart and him getting a smoldering iron up his ass. Later, the Wife from Bath (Laura Betti), here a hennish nympho, gives Tom Baker a picnic handjob, while the Pardoner's Tale is delayed long enough for a tavern interlude for some blithe buggering and water sports.



Not all is fun and games, though, and the Friar's Tale spots a found sodomite, not rich enough to bribe his way out, publicly roasted as the Devil (Franco Citti) hawks bagels for the crowd -- that the sequence remains the most vivid episode points to the desolation behind Pasolini's own self-portrait of happy serenity. Souls shooting out of Satan's rectum in a mock-Bosch coda? Tales "told for the mere pleasure of their telling," indeed. Cinematography by Tonino Delli Colli.

AWARDS
won golden berlin bear

http://www.filesonic.com/file/42504461/The.Canterbury.Tales.1972.PROPER.BDRip.XviD-AEN.part1.rar
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http://www.filesonic.com/file/42504477/The.Canterbury.Tales.1972.PROPER.BDRip.XviD-AEN.part8.rar

no pass

Pier Paolo Pasolini - Il Fiore delle mille e una notte AKA Arabian Nights (1974)

Quote:

The concluding part of Pier Paolo Pasolini's "Trilogy Of Life", following The Decameron and The Canterbury Tales, Arabian Nights corrects many of the mistakes found in the latter, noticeably its ramshackle, uneven approach, and returns to the charming territory of the former. Indeed, the film is as good as The Decameron, if not better, and is generally considered to be the trilogies crowning moment and one of Pasolini's finest films (critic Tony Rayns recently included it amongst his choices for Sight and Sound's 2002 Top Ten Critics' Poll).

The reason for this is perhaps primarily due to the escapism it allows. Pasolini retreats far into the past (much further than the fourteenth century of The Decameron and The Canterbury Tales), leaving behind the complicated milieus of his contemporary (or near contemporary) works such as Accatone! and Salò and producing his least political work of his career. Intriguingly, he still approaches this time with the documentary quality of the other trilogy films, allowing the camera to rest on the landscapes and observe their participants at a distance. Undoubtedly, this fine use of North African locations and the usual Pasolini approach of employing non-professionals aid this immeasurably, but this is no mere retread of ideas and techniques previously employed.

The leisurely pacing, for example, is at odds with the two prior works. The longest of the three, Arabian Nights relaxed air demonstrates how much Pasolini enjoys the escapism the films characters and times allows for. Even the anthology approach is slightly altered, allowing four of the tales adopted from the 1001 Nights to be framed by a fifth, lengthier narrative, rather than the brief interpolations used before, again extending the running. This is not a case of time being wasted, however, the innocence of the performances and the sparse beauty of Ennio Moricone's score provide a lyricism that makes the film a wonder to delve through, indeed, if its duration had been nearer the three hour mark, it is unlikely that this would have been detrimental.

The very nature of these tales is also important. Eschewing the comic elements that became increasingly apparent throughout the other two films (witness the Chaplin homage in The Canterbury Tales), these are instead replaced by a focus on the more fantastic aspects, thereby maintaining the lightness. Surprisingly for a Pasolini film, Arabian Nights contains a number of special effect shots to narrate its enigmatic stories of shipwrecks, forty thieves and vengeful demons (Pasolini regular Franco Citti with a striking head of bright red hair) among the more familiar paeans to love and sexuality. Whilst the effects work (admittedly of varied success) may make the film appear to be closely related to the Hollywood brand of Arabian Nights tales (various Ray Harryhausens, a number of The Thief of Baghdads), anyone familiar with these more readily available works maybe somewhat shocked. The swashbuckling element is near non-existent (imagine Douglas Fairbanks in 1924 without a sword!) as is anything remotely physical, setting aside sex, of course, but the results are strangely the same. The ebullience found in any number of screen Sinbads can be found in Pasolini himself, and his bemusement that was so intrinsic to the pleasures of The Decameron here becomes almost full-scale love. It's just as infectious; the images with which one comes away with are not of the beheadings or crucifixions that take place, rather the fact that everyone seems to be almost permanently smiling.

-DVD Times review







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no pass

Pier Paolo Pasolini - Appunti per un film sull'india AKA Notes for a Film on India (1968)

here's very little about this film on the internet. Pasolini travels to India to make notes about a future film he planned on making. He examines differences between the modern India and the historical one found in its mythologies and vedic texts by posing a particular question based on a didactic anecdote that no longer seems to apply in a twentieth century world. This 'prehistory' forms most of the first part of the film. The second part covers a modern India marred by social divisions, overpopulation and poverty. Pasolini keeps his focus on the human tragedy involved at all times.






http://www.filesonic.com/file/39880521/Appunti Per Un Film Sull'India di P.P.Pasolini.avi
467MB
no pass

Pier Paolo Pasolini & Giovanni Guareschi - La Rabbia (1963)

Quote:
La Rabbia employs documentary footage (from the 1950's) and accompanying commentary to attempt to answer the existential question, Why are our lives characterized by discontent, anguish, and fear? The film is in two completely separate parts, and the directors of these respective sections, left-wing Pier Paolo Pasolini and conservative Giovanni Guareschi, offer the viewer contrasting analyses of and prescriptions for modern society. Part I, by Pasolini, is a denunciation of the offenses of Western culture, particularly those against colonized Africa. It is at the same time a chronicle of the liberation and independence of the former African colonies, portraying these peoples as the new protagonists of the world stage, holding up Marxism as their "salvation," and suggesting that their "innocent ferocity" will be the new religion of the era. Guareschi's part, by contrast, constitutes a defense of Western civilization and a word of hope, couched in traditional Christian terms, for man's future.

the producer in charge asked Pasolini to do something with this news footage, without any constraint. But he was quite shoked by the result (he probably never saw a Pasolini film before...) and only after asked Guareschi to conceive a kind of anthitesis.
Pasolini then refused to be associated with the 2nd film and the whole wasn't shown for 40 years...






http://rapidshare.com/files/327234560/La_Rabbia.part1.rar
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Spanish subtitles:
http://rapidshare.com/files/328076921/La_Rabbia.srt
English subtitles:
http://rapidshare.com/files/328078035/La_Rabbia.eng.srt

no pass

Various - Ro.Go.Pa.G. (1963)

Description: This consists of four short films by different directors. Rosselini's 'Chastity' ('Illibatezza') deals with an attractive air hostess who receives the unwelcome attentions of a middle aged American. Godard's 'New World' ('Il Nuovo Mondo') illustrates a post-apocalypse world the same as the pre-apocalyptic one but for an enigmatic change in attitude in most people, including the central character's girlfriend. In Pasolini's 'Curd Cheese' ('La Ricotta'), a lavish film about the life of Jesus Christ is being made in a poor area. The impoverished people subject themselves to various indignities in the name of moviemaking in order to win a little food. Finally comes Gregoretti's 'Free Range Chicken' ('Il Pollo Ruspante') in which a family of the materialist culture inadvertantly illustrate the cynical, metallic voiced doctrine of a top sales theorist.






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English subs:
http://rapidshare.com/files/53812303/engsbs.rar
no pass