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Accattone (1961)

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28 out of 29 people found the following comment useful :-
Pasolini's Roma., 10 June 2005
Author: aliasanythingyouwant from United States

Accattone is a Neo-Realist examination of slovenly irresponsibility, tastelessness and self-pity - you know, the fun stuff. Its principal characters, a group of young upwardly-immobile Roman males, are almost uniformly repulsive, a lot of chest-baring half-savages whose idea of fun is luring a whore to a deserted spot and beating her to within an inch of her life. Its hero, Accattone, is played by one of the more unpleasant actors in the history of film, a fellow named Franco Citti, who manages to single-handedly set the entire nation of Italy back about two-hundred years. It is a film of almost relentless despair, depicting a Rome so desolate and squalid, so bereft of hope, that it seems almost medieval. In the hands of almost any director the movie would be unbearable - either unbearably sentimental or unbearably grim - but with Pasolini at the helm it is merely honest.

It isn't Pasolini's best film by a long way, but it may be the clearest example of what made the director so special - his ability to probe around the most revolting recesses of the human condition without seeming sensationalistic, exploitive or crass. It would be easy to go one of two directions with a character like Accattone, a lazy two-bit pimp with a son by a woman who wants nothing to do with him: the sentimental route or the grotesque. One could easily imagine De Sica, the soft-heart of Neo-Realism, turning Accattone into a sympathetic, misunderstood Everyman. And one could just as easily imagine Fellini, the most uptight director maybe in history, transforming the character into a universal symbol of societal decay. Pasolini, neither a sentimentalist nor a moralist, sees Accattone not as a sympathetic character nor as a symbol. The least judgmental director maybe ever, Pasolini conceives his characters entirely in terms of their outward behavior, and not in moral terms. He neither psycho-analyzes nor seeks to "understand" his characters. He simply presents them as they are, warts and all.

It was always the purpose of Neo-Realism to present life as it was lived, not life as it was imagined by screenwriters, directors and actors, and there are few more successful ventures in this regard than Accattone. The film's main triumph is in its atmosphere. The Roman days have never seemed so sun-bleached, so arid and oppressive; its nights never so mysterious, so full of inexpressible longing (not even in Henry James). The characters seem bound to this world in a palpable way, their faces (shot by expert cinematographer Tonino Delli Colli) mirroring the desolation, the hopelessness, the strangeness of their surroundings. The movie's physicality, as always with Pasolini, is striking. But pure physical vigor, pure atmosphere isn't enough. Where Pasolini comes up short is in assembling the parts of his film into something with real emotional breadth. His first feature shows him already on his way to being a master of the image, but also shows that he had a lot to learn about being a master of cinematic rhythm. The strange blend of primitivism and modernism is already there but the command is not. It's a film that works well in the moment but feels thin as a whole. It's a triumph of Neo-Realist technique but it only half-succeeds as a film.

Half-successful Pasolini is still better than the best most directors have to give. If you can portray a character as repulsive, as boorish and ego-maniacal as Accattone - a character with few if any redeeming features - for two hours without alienating your audience...well, chalk one up for the director who can do that. Especially one who manages the trick without resorting to sentimental contrivance or the kind of false significance people like Fellini always tried to drum up by filling their movies with obvious symbols, the sorts of things art-film zombies love because it gives them a chance to show their alleged smarts. Pasolini never flatters his audience but he never sneers at them either. He attempts to neither ingratiate himself with the public nor antagonize it in the manner of certain self-important avant-gardists. The best artists look for what interests them in a piece of material, not worrying whether their ideas, their approach, their style is accessible to the public at large, or critics, or scholars, or their grandmothers or anyone else. Accattone shows Pasolini on the road that would make him one of cinema's best directors - a road traveled by precisely one person, Pasolini himself.

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19 out of 21 people found the following comment useful :-
cinema of tragic poetry, 31 October 2001

Author: cogs from (e.g. London, England)

Accattone is a relentless study of the suffering that accompanies poverty. Pasolini utilises the well worn techniques of the Italian neo-realist moment to represent the depressing and oppressive life of a pimp - Accattone (played by the astonishing Franco Citti) - in the slums of post-war Rome. His life is beleaguered by guilt and self-disgust, his occupation, which is ostensibly the exploitation of women, causes the titular character untold despair. Ultimately he is unable to rationalise his need to eat with the suffering he causes to the women who work for him; they are, after all, also his lovers. Yet, Pasolini is careful to maintain the humanity of his protagonist by representing his hopeless situation as equally a result of his own doings as that of the social environment. Pasolini's Accattone is a masterful debut which expertly calls into service the devices of the cinema to convey a depressing but also compassionate narrative. His style is equal parts poetry and melodrama; a tough combo for any director. Some moments of this film are as tragically lyrical as those to be found in a film by Robert Bresson or Roberto Rossellini. Accattone is a commendable combination of style and substance which will leave few viewers unaffected.

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13 out of 20 people found the following comment useful :-
Stunning Debut of a Great Director, 28 February 2006

Author: Claudio Carvalho from Rio de Janeiro, Brazil

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 whore. However, Accattone has a crush on Stella and decides to find a way to support her, with tragic consequences.

"Accattone" is the stunning debut of the great director Pier Paolo Pasolini. He returns to the theme of the misery of Italy in the postwar, explored in many Italian neo-realist movies such as Fellini's "Le Notti di Cabiria" (1957) and Visconti's "Rocco e i Suoi Fratelli" (1960), and magnificently shows the lifestyle of great part of the population in Italy, its lower class, with lack of perspective, starvation, prostitution and unemployment. Considering that this movie is also the debut or the beginning of the career of most actors and actresses, it is amazing how Pasolini was able to make such gem. My vote is nine.

Title (Brazil): "Accattoni – Desajuste Social" ("Accattoni – Social Maladjustment")

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3 out of 3 people found the following comment useful :-
Accattone: a story of the Roman lumpenproletariat, 17 December 2006

Author: crlsimon from Italy, Rome

Just to start with, Accattone was not filmed in Naples but in Rome. Someone might have brought to that understanding by some Neapolitans gangsters that appear at some point in the movie As for the "ruins" that scatter the landscape, they are mostly buildings that will soon replace the barracks such as the one in which Accattone lives, or the Acquedotto Felice, an ancient Roman aqueduct that runs close to Prenestina and Casilina, two Roman suburbs, that you can see in Mamma Roma as well. Franco Citti, the character of Accattone, perfectly embodies the roman lumpenproletariat of the time: idle, fatalistic and desperate. Pasolini met Franco's brother Sergio, a plasterer, hanging around Cinecittà in 1951. He introduced him to his brother Franco that became Pasolini's dialectical adviser for Accattone, Mamma Roma and his book "Ragazzi di vita"; his "living vocabulary" as he called him. Indeed, Pasolini interests for dialects and slangs (Roman is not really a dialect anymore but a slang) was not disappointed. The dialogues between the characters are full of fantasy: rude and in some way reminiscent of their peasant past. A must see if you're interested in Neorealism and in the "ways of the underworld lumpenproletariat". Someone connected this movie with Bunuel's "Los Olvidados". I definitely agree.

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4 out of 5 people found the following comment useful :-
It all started here -- possible spoilers, 28 March 2002
Author: nnad from Northampton, MA

*** This comment may contain spoilers ***

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 government as Pasolini was and that would transcend these beliefs into his art with controversy yet at the same time subtlety.

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8 out of 13 people found the following comment useful :-
A Quiet Masterpiece., 27 March 2006

Author: vionnetcavanagh from China

A decade and a half after the end of the second world war, Naples is still being rebuilt. Families subsist and live in little shacks whilst Attacone pimps a girl called Maddelena in order to make ends meet sitting outside the local café he talks with his friends. Pasolini's examination of postwar Neapolitan life is beautifully filmed and above all engages the viewer with an assortment of characters which one feels a great connection. There is never a sense that these people are being patronized or exploited and Pasolini encourages some warm performances from his group of actors. Touching, warm and funny at one point one of the boys in Accatone's company is so hungry that he bites at a carnation whilst the boys await the pasta they are cooking. Its a beautiful moment full of sad realism and its an image that lingers long after the film has ended.

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4 out of 7 people found the following comment useful :-
A representative outset for a spectacular and controversial career, 3 July 2006

Author: stef from Greece

Pasolini's first film "Accatone" is exactly as one would expect a typical Pasolini film to be: wreathed in raw violence, and shot with a brilliant sense of poetic slash brutal realism, reminiscent of the neo-realism era, and perhaps, if not for sure, a semi-autobiographical portrait of life in the streets of Rome's peripheries. "Accatone" is, at its best, a chunk of life, which Pasolini managed to extract not as it initially was, but dramatically filtered through his own personal lyrical gaze. Gangs, prostitutes, lies and deceit lie in this film's core. A sense of irresponsible opportunism is seen in this film, almost no regrets for the past and no fears for the future. In fact, the movie's tragic hero, Vittorio Accatone, is a dark alter-ego of yet another favored Italian movie character, embodied only a year before by Marcello Mastroianni in "La Dolce Vita". Perhaps, in this case, Accatone was not a party animal journalist who sought ephemeral pleasure in social middle-class gatherings and women, but the spirit is, by itself, maintained astonishingly faithfully: Accatone is no longer a protagonist in Pasolini's movie, doomed to descend lower and lower in social class, losing both his dignity, his social acceptability and his profound "style", but a symbol, a metaphor for Pasolini's own political beliefs. Under this figure of a brute, behind the otherwise repelling image of a short dirty man with a sly smile and a peculiar walk, lies the failure of post war Italian government, a government which, according to this movie's subtext, strove so hopelessly to attain social and economical success for Rome's population, and somehow neglected or marginalized Rome's peripheries, causing people like Accatone and his girlfriends to result in prostitution and theft. A kind of pretension and make-belief well being which was also visible, at the time, in America. Yes, Accatone is the result of this American Dream's pastische.

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7 out of 13 people found the following comment useful :-
brilliant contradiction between the profane and the sacred, 11 May 2005

Author: candide777 from United States

don't be a fool, this movie is not about pimps! It is about the periphery of Rome during the post-war years and the better life that capitalism created for the masses yet fundamentally forgot about these denizens of the borgate. If you like contradictions, dichotomies and are a film of uber-neo-realism, read this film. The protagonist, Accattone, is yes a pimp, but he is a pimp because that is how he is rendered through society. Pasolini gives a weird sort of dignity to the slummy atmosphere and seedy characters that reside in it. Christological imagery is prevalent!!! If you are mildly cognizant of Renaissance and Baroque art, you will see what I am talking about.

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8 out of 17 people found the following comment useful :-
The way of living in Rome of the 50s, 4 November 2002

Author: esteban hernandez from Italy

If you see this film you will agree with me that Rome of 50s was equal to any other developing country, with the same miseries, hunger and needs of any least developed nation in the world. Prostitution and unemployment were characteristics in Rome of those days. Accatone is a young lazy guy, living of what he can earn in a day but not working, i.e. stealing anything he finds and using illegally nice ladies as prostitutes. One day he decided to start working, but it was too hard for him, so he came back doing the same as in the past, stealing and smuggling anywhere. The film is spoken in Romanacio dialect, so I suspect that even for some Italians in the North this film has to be dubbed to the Italian (Toscana dialect) language, otherwise they would not understand it properly. It is also a possibility to see poor parts of the city and new built areas. The river Tevere was not as polluted as it is now because the Romans used to swim in it.

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4 out of 13 people found the following comment useful :-
Disjointed, oddly wispy but depressing story, 17 February 2001
Author: (edwartell@hotmail.com) from Austin, Texas

Pasolini's cinematic debut tells the story of lowlife Accattone (Franco Citti, who was also in Pasolini's superior Mamma Roma), a pimp who feels full of guilt, self-loathing and other unsavory but understandable emotions. For two hours, we watch him and his buddies, see him fall in love, observe him fighting, etc. It's a string of anecdotes rather than a cohesive film. Still, there's no denying the power behind certain segments - the spaghetti sequence, for example - nor the overblown pomp of other scenes, like the one where frantic Silvana Corsini gives her vocal chords a workout while trying to convey the depths of Accattone's evil.

The movie is oddly insubstantial overall - it wants to be depressing and devastating, but feels merely like a small-time obituary. It's sad, of course, but Accattone tries to hard to be really sad, affecting and all those other attributes, and comes out seeming a bit manipulative. Still, Pasolini's movie is an above-average movie, worth checking out for fans of, I don't know, pimp stories.

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