guedesnino In "Uccellacci and Uccellini" we have truth, naturalness and authenticity so well incorporated and structured that it is hard to believe in the possibility of comedy in the face of such harsh realities and of a world where people use the hardness of their lives as materiality for laughter . A particular work in his proposal and among many reasons, a rare work.Written and directed in 1966 by Pier Paolo Pasolini, "Uccellacci and Uccellini" is one of those films that generate immediate division, there are no half terms. Particularly, I consider it as a special film, but that already shoots in ample start for my appreciation, for the respect and admiration that I feel for Italy, for its history in the cinema and by diverse actors, among them Totò Innocenti."Uccellacci e Uccellini" has all the key characteristics of the Neorealist style, and deals with Marxist concerns about poverty and class conflict, but without losing his humor, which, by the way, generates great power and importance of this work, Uniting political reflections, social construction and having as a midfield, humor, Pasolini achieves a comprehensive and active dialogue, places the viewer in a critical and reflective situation, delivers a work open to laughter, but not limited to that. To overcome the limits of a common or simplistic comedy, it was, but of what it necessary to count on the support of the Italian actor Totò Innocenti.This was Totò Innocenti's last film. After the death of the actor, two other films were released, but in both productions, the filming took place long before "Uccellacci and Uccellini". Totò in 1966 was already more than a consecrated comedian, his figure was a mark and renowned of Italy, having the recognition of his work expanded to other countries and continents, it is not for nothing that he is part of a select group where the actors are present Charlie Chaplin and Buster Keaton. We can see in Uccellacci and Uccellini a more restrained Totò, which generates a certain strangeness for those who already know it of previous works, much of this half disengaged, sometimes even plastered originate from the direction of Pasolini, who limited the improvisations, The game and even the face masks of the actor, requests that denied the characteristics that made Totò a celebrated comedian. It is necessary to understand that the requests of Pasolini were not ways to cut or to diminish the work of Totò, on the contrary, knowing the artistic quality of the comedian, Pasolini sought to present a punctual work and that dialogued with the neorealistas proposal of the film, besides being a Great opportunity that Pasolini offers to the great Totò.In "Uccellacci and Uccellini" we have truth, naturalness and authenticity so well incorporated and structured that it is hard to believe in the possibility of comedy in the face of such harsh realities and of a world where people use the hardness of their lives as materiality for laughter . A particular work in his proposal and among many reasons, a rare work. The allegory created by Pasolini, unifies aspects of Marxist philosophical fable.As in all fairy tales, there is a definite story in this film: the narrative pretext is given by the philosophical (Marxist) considerations of an old raven that approaches two men, father (Totò) and his son (Davoli). The crow seems to convince the two men, using his wisdom and his words, but the moment the problem of hunger appears, the "reasonable" man reveals himself, and Totò ends up eating the wise crow. The allegory presented is clear and well performed.Regarding the neo-realist considerations presented in the film, I can categorize them through André Bazin, a French cinema theorist and critic, arguing that neorealism portrays: truth, naturalness, authenticity and is a cinema of duration. The necessary characteristics of neo-realist cinema include: A defined social context; A sense of historical reality and immediacy; Political commitment to progressive social change; Authentic scenes and scenery with its location, as opposed to the artificial studio; A rejection of classic Hollywood styles; Extensive use of non-professional actors as much as possible; A documentary style of cinematography."Uccellacci and Uccellini" is reportedly the work that Pier Paolo Pasolini most loved, probably because it is the most complete synthesis of his artistic eclecticism. It is a work with great poetic power, from the beginning was the object of discussion and controversy. He got a special mention at the Cannes Film Festival and was awarded the silver prize.

lasttimeisaw Pasoloni's fourth feature, an all-encompassing allegory about our society, is told in the form of a road movie about a pair of father and son, played by Totò and a young Ninetto Davoli, rambling in the outskirt of Rome (aimlessly at first, later, it will turn out that they are on the way to collect a debt).The opening sequence itself is an out-of-the-blue gambit, the movie's credits are not only shown, but also literally belted out by Domenico Modugno in his cheery tune along with Morricone's allegro theme music, are we going to watch a quintessential Totò's commedia dell'arte?Yes, and the picture also proves much more than that, Totò, although visibly ailing (he was almost completely blind at that time and would pass away one year later at the age of 69), perks up in a semblance of Charlie Chaplin in his suit-and-tie and an umbrella in his grasp, while Ninetto, improvises his comical naivety, together they form an odd duo contrasted and complemented each other with worldliness and guilelessness, command and obedience, incessantly, shimmering with amicable personae and gentle slapstick.After rubbernecking a dead body being taken out of a house, the pair meets a talking crow, surrealism has never been so whimsically grafted upon the neo-realist soil. The crow is a self- claimed Marxist, recounts a story of two Franciscan friars (also played by Totò and Davoli) in the 13th Century, who are adjured by St. Francis to preach Gospel to the hawks and the sparrows, an endeavour has taken them months and months, and two very varying approaches, one through voice, another through movement, that is the genius in Pasolini's conviction, different species, different tactics, old ways might not always work, ultimately and most sagaciously, love cannot alter the inherent qualities of each species, predators will remain being predators, so are preys, these roles are destined by nature, don't underestimate or over-estimate the power of religion.Back to the present, the trio experiences several episodes of mundane circulations, obscenity and misunderstanding foster belligerence, people are constantly adjusting their roles between a creditor and a debtor, poverty, being a Good Samaritan and beholding the birth of a new life, then to manifestation of his own political slant, the news footage of Palmiro Togliatii's funeral in 1964, whose was the prominent leader of the Italian Communist Party, has usurped the picture for several minutes, a very personal imprint which also revives the collective memory.Finally, a chance meeting with a young prostitute Luna (Benussi) leads the movie back to a flippant mood, and the ruination of the leftist crow, not just being too garrulous, also, it has to take the risk at its own peril, being a symbol of a passé ideal, communism is something nipped just out of the bud in Italy.A simple-in-structure, but immense-in-ideology prose, THE HAWKS AND THE SPARROWS are more accessible than Pasolini's other works, and also proffers to a nostalgic eye, a close observation of a legendary comedian's consuming caper in his twilight year, and Ennio Morricone's score has reached a new landmark in its audial vitality and emotional punch.

debblyst "Uccellacci e Uccellini" is probably the best chance to get acquainted with Pasolini's political thoughts pre-1968 other than reading him. It's a candid, allegoric and provocative attempt to express his ideas about a very specific epoch in Italian history, after the death of left-wing political "father" Palmiro Togliatti in 1964 (whose funeral is one of the great scenes of "Uccellacci") and the "death" of Neo-Realism. It also reflects the intense differences between social classes, intellectual trends and political forces that would lead to the acts of "contestazione generale" in the late 1960s. WIth "Uccellacci", we can learn some of Pasolini's thoughts on Marxism, Fascism, religion, the Catholic church, the role of intellectuals, the bourgeoisie, political parties, the dire conditions of the campesinato and the borgate (slums), poverty, greed, famine, cultural and social apartheid -- you name it. That's the main problem with this passionately personal and visually stunning walking-road-movie: too many targets, too little time to hit them all in the bull's eye.A natural follow-up to his documentary "Comizi d'Amore" (1965) -- in which he traveled all over Italy interviewing people about their thoughts on love and sex -- Pasolini shows in "Uccellacci e Uccellini" the unofficial apartheid in Italy, a basically "unmelting" pot of dozens of different ethnic, linguistic and cultural backgrounds "artificially" unified in mid-19th century but still plagued by social/economical/cultural chasm. And he also denounces the sterility of the discourse of the "official-left" intelligentsia, which he clearly despised (and which heavily attacked him on many issues and occasions).In the Italy of the 1960s, the Left was concerned with the struggle of workers, intellectuals and students against the establishment; the contadini (peasants) weren't even properly considered as a political force -- they were the symbol of archaic, pre-boom Italy. Pasolini was the main voice to take the side of the peasants; against famine, sophism falls flat, as the intellectual crow will shockingly discover at the end of "Uccellacci". The political discourse can no longer be theoretical; it has to be urgent, pragmatic, directed towards action. Godard, Bertolucci, Alea, Ruy Guerra, Resnais and others also approached the theme at the time; but, unlike the majority of intellectual-filmmakers of the 60s, Pasolini ACTUALLY had had a rural (though highly literate) background.Wildly (in)famous at the time as poet/filmmaker/writer/anti-Vatican political activist (but, contrary to a false general belief, he was never a gay militant, though he certainly wasn't in the closet), Pasolini picks up the journey into the "Italia profonda" from Visconti's "Ossessione" and "La Terra Trema" to most of Rossellini and leaves his own distinctive signature in the very complex era of the economic boom. Pasolini smartly uses the parable genre with much comic relief so he can talk about serious political issues in a "commercial" film, relying heavily on veteran champion Totò's immense talent, charisma and experience. In one of his last films, Totò is joined by 16 year-old newcomer Ninetto Davoli, here in a completely relaxed, natural performance; they make a perfect duo. The cinematography by master Tonino delli Colli features jaw- dropping locations and compositions. The music by Ennio Morricone is memorable, his very personal touch instantly recognizable; and there are funny sung (!) opening credits. There are two minor letdowns that prevent total audience adhesion: 1) it lacks a brighter tempo, the rhythm falters at times; 2) the episodes are rather loosely linked 3) there are episodes which might be shorter (the wonderful but overlong St. Francis story) and others might be longer (the visit to the rich landowner's house)."Uccellacci e Uccellinni" is a very personal Pasolini ("my favorite" he said in a 1969 interview) and one of his few films not based on literature classics, mythology or the Bible. It's mandatory for all interested in Pasolini's work and/or the political issues of the 1960s, as well as for fans of the unforgettable, one and only Totò.

marquis de cinema Confusing but fascinating motion picture about the experiences of a father and son. A Felliniesque story with the two main characters experiencing anything strange or surreal tht comes their way. Maybe influenced from the work Pasolini did with Fellini on Nights of Cabiria(1957) and La Dolce Vita(1960). Has many areas in it that is characteristic of a Federico Fellini film. Even the father reminds me of some characters from a Fellini picture. The direction is simple as well as subtle. Uccellacci E Uccellini/Hawks & Sparrows(1965) is Pasolini's lightest and most gentle picture of his filmography. Light years away from the controversial and nilistic sections of his later films. An uncharacteristic film for Pier Paolo Pasolini because of its cheerful and clownish nature. The comedy in Hawks and Sparrows(1965) is in the tradition of such silent greats as Chaplin, Keaton, and Lloyd. Complex film that probably should be seen more than once to attempt at getting a clear meaning of its allegoric nature. Hawks and Sparrows(1965) gets some good acting from the leads Toto and Ninetto Davoli. On casting people for Pasolini's film he remarked("I use both actors and non-actors, and I am not interested in their ability. I take them for what they are") with an interesting line. This quote from Pasolini is important in the casting of Hawks and Sparrows(1965) because of his personal perference of non actors over actors. The first film I have seen with the actor Toto. Ninetto Davoli does a decent job for a person who never acted before in his life. The rest of the actors are good in the segments they are in. The director liked using non actors because he wanted a natural and unconscious style that could not be possible with a pro actor. Pier Paolo Pasolini was one of the best and most rare type of movie makers to inhibit is cinema with mostly non actors. Each episode is funny and yet intellegent. Pasolini conveys the character of Toto as someone who is unaware of life around him. Filled with the usual political beliefs Pasolini was into. The opening credits are creative and very unusual. They are played over the screen in the form of a prose. I only wish that more films would use this kind of opening credits instead of the usual opening credits because its more interesting here. The director's intention was to make a film that was pure prose and in the tradition of Buster Keaton and Charles Chaplin. Hawks and Sparrows(1965) does retain the elements of the tragic comedy with the themes of class and poverty. Ennio Morricone plays one of his best film scores in a non Leone film. Pasolini and Morricone did some good work together as director and film composer. Shows how good Pasolini was at in using simple images to push forward a themematic idea. The bird that follows the father and son represents something that is the total opposite of the two. Visual poetry at its finest and and most beautiful. One scene that has recently resurfaced during the late 1980s was an unreleased episode called "Toto At The Circus".