Reviews:
1. A little forgotten masterpiece. This surreal comedy is one of those rare examples where the tragic and the hilarious are inseparable. Three homeless chaps from Rome spend their time scavenging rubbish or cheating local restaurants in order to secure their daily food. They accidentally end up in the Italian countryside where they get involved in a series of paradoxical situations, suffer delusions from extreme lack of nutrition while encountering bizarre people from every social stratum along the way. Despite the hilarious moments, there is understated pessimism and subtle misanthropy through out, the poor are barbaric and illiterate scum eager to kill you for a plate of soup, the rich are exploitative cruel bastards, the ‘saviour’ of the people is a deranged messiah-like figure in serum who leads them into a futile excursion up a mountain top. Great performance as usual by R.Benigni and nice score from N.Piovani. (orso-antinome from tumblr)

2. Dark comedy or joking Drama?
Il Minestrone is set in a disgruntled and poor Italy.
Three fellows roam together trying to get some food, but nothing seems to work…
Resources looks so scarce that even the character dialogues are limited, people usually come up with the same words, in a hopeless manner.
Set in a wasteland of dumpsters, ugly buildings and scraps of lost paradise countryland, this movie needs more attention and it’s quite relevant with current economics that it stings!
Is this a dark comedy or a joking drama? An interesting movie for sure under many aspects. (ebnerglands from CG)

3. I must say I’m not that Citti’s fan. Nevertheless, I’ve been very curious watching this rare movie. And, well it’s been a surprise. Despite of a poor photography, the actors and actresses starring, the plot, the poetry of images and words, made me think it was a little masterpiece. It’s more than a movie, a metaphor. The hunger, the hunger for all. The need for food, adventure, knowledge, dreams. And dreams in fact seem to satisfy more than food itself. Giorgio Gaber, Dario Benigni, Franco Javarone, Daria Nicolodi, the director Citti, Ninetto Davoli are metaphors themselves of a lost way of making cinema, and , in one word, of describing Italy. Gaber’s dry foolness, Javarone’s Neapolitan way of helping people, Nicolodi’s bourgeois sweetness, Benigni’s sense for dream react with poor, simple philosophy played by Davoli and Citti. A sweet poem, a gentle flower. (maravedis from IMDb)

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Language(s):Italian
Subtitles:English subs (srt. files)

The post Sergio Citti – Il minestrone (1981) 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
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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.

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.