1963: The Mondo Libero newsreel by Gastone Ferranti and other material found in Czechoslovakia, the Soviet Union and England became, for Pier Paolo Pasolini, the basis for a lyrical and polemical analysis of the social phenomena and conflicts affecting the modern world, from the Cold War to the Economic Boom, with commentary consisting of a “poetical voice” (Giorgio Bassani) and a “prosaic voice” (Renato Guttuso).
While Pasolini was working on editing “La Rabbia”, the producer, with either political and/or commercial motives, decided to turn the movie into a four-handed work, and entrusted Giovannino Guareschi with a part of it, following the well known journalist-like scheme “seen by right, seen by left.”
Pasolini reacted with irritation to this forced co-habitation, but in the end he acquiesced, giving up the first part of his movie to make room for Guareschi’s segment.

2008: We thought it would be most interesting (as well as a fitting tribute) to try to trace, after so many years, Pasolini’s original work.
Starting with the poet’s text and Mondo Libero’s collection, we worked on a reconstruction of Pasolini’s section of the film, adding that first missing part.

“Why is our life tamed by unhappiness, anxiety, by the fear of a war?
To answer this question I wrote this film, with no chronological order, and maybe not even a logical one…but with my political reasons and my poetic feeling.” – Pier Paolo Pasolini

“La Rabbia is a movie of editing, a sort of political essay, a poetical film.
Or better, a text in poetry expressed through images, and overwhelmed by anger.
The anger of Pier Paolo Pasolini.
Against the bourgeoisie, barbarism, intolerance, prejudices, triviality, respectability. Against power that already railed at him with persecutory intention.” – Carlo Di Carlo

The reconstruction includes:

An introduction by Giuseppe Bertolucci (2’)
Unpublished material from the archive of Istituto Luce (16’)
La Rabbia (1963 edition) (53’) by Gruppo Editoriale Minerva RaroVideo
Appendix: L’aria del tempo (12’)

Duration: 83’

Based on an idea by Tatti Sanguineti
Made by Giuseppe Bertolucci, edited by Fabio Bianchini
Reading of the reconstructed section by Fabrizio Gifuni and Giuseppe Bertolucci
Co-producers: Istituto Luce, Gruppo Editoriale Minerva Raro Video and Cineteca di Bologna
Executive Producer: Cineteca del Comune di Bologna (Bologna Public Film Library)

La Rabbia di Pasolini was edited in the laboratory L’Immagine Ritrovata, at the Bologna Public Film Library, which also carried out the digital processing. The lab also restored the edition of La Rabbia of Pier Paolo Pasolini and Giovannino Guareschi (1963) by Gruppo Editoriale Minerva RaroVideo.

Sixteen extra minutes of unpublished material were added from the archive of Istituto Luce (newsreels from Mondo Libero, Settimana Incom, Opus Film).

The new chapters deal with the following subjects:
1. Final tribute to De Gasperi
2. The weight of war (return of the ashes from Greece)
3. Atomic cannons
4. Seagulls’ flight
5. Europe was born
6. The little song of Carla Boni and the ball at Rai
7. Victory of the white union at Fiat
8. The Abyss Christ
9. The Korea War
10. The prisoners’ return
11. Churchill in the garden
12. The meeting of the Greats in Geneva
13. A number of floods
14. Saint Peter and the prelates
15. A number of happy scenes
16. Television

La Rabbia Di Pasolini.mkv

General
Container:  	Matroska
Runtime: 	1h 17mn
Size: 	1.15 GiB
Video
Codec: 	x264
Resolution: 	720x576 ~> 768x576
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	1 889 Kbps
BPP: 	0.182
Audio
#1:  	Italian 2.0ch AC-3 @ 224 Kbps (Stereo)

https://nitro.download/view/B0BF9D9E6D93E2D/La_Rabbia_Di_Pasolini.mkv
https://nitro.download/view/DE844B41FECEB3B/Interviews.rar

Language(s):Italian
Subtitles:English

The post Pier Paolo Pasolini & Giuseppe Bertolucci – La rabbia di Pasolini (2008) first appeared on Cinema of the World.

Quote:
A wealthy Italian household is turned upside down when a handsome stranger arrives, seduces every family member and then disappears. Each has an epiphany of sorts, but none can figure out who the seductive visitor was or why he came.

Quote:
A handsome, enigmatic stranger (Terence Stamp) arrives at a bourgeois household in Milan and successively seduces the son, the mother, the daughter and the father, not forgetting the maid. Then, as abruptly and mysteriously as he arrived, he departs. Unable to endure the void left in their lives, the father (Massimo Girotti) hands over his factory to the workers, the son (Andrs Jos Cruz) abandons his vocation as a painter, the mother (Silvana Mangano) abandons herself to random sexual encounters, and the daughter sinks into catatonia. The maid (Laura Betti, winner Best Actress, Venice 1968), however, becomes a saint. In this cool, richly complex and provocative political allegory, Pasolini uses his schematic plot to explore family dynamics, the intersection of class and sex, and the nature of different sexualities. After winning a prize at the Venice Festival, Teorema was subsequently banned on an obscenity charge, but Pasolini later won an acquittal on grounds of the film’s ‘high artistic value’.

Teorema.1968.576p.BluRay.DD1.0.x264-KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 38 min
Size: 	2.66 GiB
Video
Codec: 	x264
Resolution: 	1024x552 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	3 500 kb/s
BPP: 	0.258
Audio
#1:  	Italian 1.0ch AC-3 @ 192 kb/s
#2:  	English 2.0ch AC-3 @ 160 kb/s (Commentary by film scholar Robert S. C. Gordon)

https://nitro.download/view/448338EEBAF2527/Teorema.1968.576p.BluRay.DD1.0.x264-KG.mkv

Language(s):Italian
Subtitles:English

The post Pier Paolo Pasolini – Teorema AKA Theorem (1968) first appeared on Cinema of the World.

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

Il.fiore.delle.mille.e.una.notte.1974.720p.Criterion BluRay.FLAC.x264-iCO.mkv

General
Container:	Matroska
Runtime:	2h 10mn
Size:	9.22 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	1280x692
Aspect ratio:	1.85:1
Frame rate:	23.976 fps
Bit rate:	9 800 Kbps
Audio
Italian 1.0ch FLAC

https://nitro.download/view/D6472972B792F1B/Il.fiore.delle.mille.e.una.notte.1974.720p.Criterion_BluRay.FLAC.x264-iCO.mkv

Language:Italian, Arabic
Subtitles:English

The post Pier Paolo Pasolini – Il Fiore delle mille e una notte AKA Arabian Nights (1974) (HD) first appeared on Cinema of the World.

it’s a movie about a woman who beheads her brother, stabs her children, and sends her lover’s wife up in flames. For Maria Callas, it’s a natural.

Based on the plot of Euripides’ Medea. Medea centers on the barbarian protagonist as she finds her position in the Greek world threatened, and the revenge she takes against her husband Jason who has betrayed her for another woman.

Quote:
A mythical tale of love, betrayal and revenge, Medea is a fascinating collision of Freudian and Marxist themes from Italy’s most controversial director, Pier Paolo Pasolini. Adapted from the Euripides drama, Pasolini’s disturbing vision of personal and national conflicts stars operatic legend Maria Callas in the title role, offering an extraordinary performance as the high priestess Medea whose love is threatened by corrupt political ambition. A vivid and aesthetically challenging vision, Medea is a complex blend of classical mythology and contemporary social criticism.

Medea.1969.CC.1080p.BluRay.x264.FLAC.1.0-ADE.mkv

General
Container:  	Matroska
Runtime: 	1 h 51 min
Size: 	11.9 GiB
Video
Codec: 	x264
Resolution: 	1920x1036 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	15.0 Mb/s
BPP: 	0.315
Audio
#1:  	Italian 1.0ch FLAC @ 219 kb/s (Italian)

https://nitro.download/view/A5E228DBC5E49F4/Medea.1969.CC.1080p.BluRay.x264.FLAC.1.0-ADE.mkv

Language(s):Italian
Subtitles:English, Chinese

The post Pier Paolo Pasolini – Medea (1969) (HD) first appeared on Cinema of the World.

A man and his son take an allegorical stroll through life with a talking bird that spouts social and political philosophy.

Quote:
One of the handful of films that found Pier Paolo Pasolini sustaining a merrier mode of cultural assault, Hawks and Sparrows [Uccellacci e uccellini] features Italy’s popular comic actor Totò (known to cinephiles as the star of Roberto Rossellini’s Dov’è la liberta…?) and Pasolini regular Ninetto Davoli in a picaresque fable that lampoons politics, religion, and the legacy of neorealism.A crow gifted with the power of speech accompanies wandering duo Totò and Ninetto on a trail that leads to their roles as Franciscan friars who preach to the literal “hawks and sparrows”, before returning in time to gaze upon slum-dwellers, Danteist dentists, itinerant actor-hippies, and, ultimately, the state of the modern world.Featuring a score by the legendary Ennio Morricone, Pasolini’s anarchic comedy remains a time-capsule of the giddy tensions torqued by the dawn of the late Sixties.

The.Hawks.and.the.Sparrows.1966.CC.1080p.BluRay.x264.FLAC.1.0-ADE.mkv

General
Container:  	Matroska
Runtime: 	1 h 29 min
Size: 	9.63 GiB
Video
Codec: 	x264
Resolution: 	1920x1036 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	15.1 Mb/s
BPP: 	0.316
Audio
#1:  	Italian 1.0ch FLAC @ 238 kb/s (Italian)

https://nitro.download/view/7D5B3845168C8CF/The.Hawks.and.the.Sparrows.1966.CC.1080p.BluRay.x264.FLAC.1.0-ADE.mkv

Language(s):Italian
Subtitles:English, Chinese

The post Pier Paolo Pasolini – Uccellacci e uccellini AKA The Hawks and the Sparrows (1966) (HD) first appeared on Cinema of the World.

New, restored high-definition digital transfer, with uncompressed monaural soundtrack on the Blu-ray edition
The notorious final film from Pier Paolo Pasolini, Salò, or The 120 Days of Sodom has been called nauseating, shocking, depraved, pornographic . . . It’s also a masterpiece. The controversial poet, novelist, and filmmaker’s transposition of the Marquis de Sade’s eighteenth-century opus of torture and degradation to Fascist Italy in 1944 remains one of the most passionately debated films of all time, a thought-provoking inquiry into the political, social, and sexual dynamics that define the world we live in.

Salo.or.the.120.Days.of.Sodom.1975.CC.REM.1080p.BluRay.x264-KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 56 min
Size: 	12.0 GiB
Video
Codec: 	x264
Resolution: 	1920x1038 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	14.6 Mb/s
BPP: 	0.305
Audio
#1:  	Italian 1.0ch AAC LC @ 135 kb/s (Mono)

https://nitro.download/view/EF4169D59F3B31C/Salo.or.the.120.Days.of.Sodom.1975.CC.REM.1080p.BluRay.x264-KG.mkv

Language(s):Italian
Subtitles:English, Spanish, Portuguese, Dutch, Swedish, Greek, Polish, Russian

The post Pier Paolo Pasolini – Salò o le 120 giornate di Sodoma AKA Salo, or the 120 Days of Sodom (1975) (HD) first appeared on Cinema of the World.

Quote:
The director presents takes and scenes filmed on location in Africa for a film-that-never-was, a black Oresteia.

1.84GB | 1h 13m | 782×576 | mkv

https://nitro.download/view/9059089BD37FC1E/Appunti.per.un.Orestiade.Africana.1970.576p.x264.AAC.BluRay-JB666.mkv
or
https://fikper.com/pfXIRAy6GM/Appunti.per.un.Orestiade.Africana.1970.576p.x264.AAC.BluRay-JB666.mkv

Language:Italian,French
Subtitles:English,French

The post Pier Paolo Pasolini – Appunti per un’Orestiade africana aka Notes towards an African Orestes (1970) first appeared on Cinema of the World.