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پازولینی در گفتگو با ازوالد استک
Il cinema, il rapporto col cinema e col suo mondo è l’argomento principale di queste conversazioni tra il critico inglese Jon Halliday e Pier Paolo Pasolini. Halliday ritraccia con Pasolini l’intero suo percorso di regista, illustrandone la concezione del «cinema d’autore», affrontando gli aspetti tecnici, analizzando le opere, chiarendo la posizione di Pasolini di fronte alla censura. Ma la ricchezza della personalità dell’intervistato, la curiosità dell’intervistatore, la varietà d’interessi di entrambi fanno sì che la conversazione spesso si dilati, si appropri di altri temi. Si aprono rapidi, vivissimi scorci su certi momenti della vita di Pasolini: gli anni giovanili, il Friuli, Bologna, la scoperta di Roma, il formarsi delle amicizie. Ma, soprattutto, si toccano gli argomenti che hanno destato, fuori e dentro l’opera letteraria, l’interesse e la passione di Pasolini: le questioni di lingua, la religione, il rapporto fra letteratura e ideologia, fra cultura e politica e fra Chiesa e cultura in Italia. Riscoprendo così un ardore intellettuale e civile capace di mettere a fuoco problemi sempre attuali nel nostro Paese.
- GenresFilmNonfictionItalyArt
221 pages, Paperback
First published January 1, 1969
6 people are currently reading
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About the author
Pier Paolo Pasolini
375 books855 followersItalian poet, novelist, critic, essayst, journalist, translator, dramatist, film director, screenwriter and philosopher, often regarded as one of the greatest minds of XX century, was murdered violently in Rome in 1975 in circumstances not yet been clarified. Pasolini is best known outside Italy for his films, many of which were based on literary sources - The Gospel According to Saint Matthew, The Decameron, The Canterbury Tales...
Pasolini referred himself as a 'Catholic Marxist' and often used shocking juxtapositions of imagery to expose the vapidity of values in modern society.
His essays and newspaper articles often critized the capitalistic omologation and also often contributed to public controversies which had made him many enemies. In the weeks leading up to his murder he had condemned Italy's political class for its corruption, for neo-fascist terrorist conspiracy and for collusion with the Mafia and the infamous "Propaganda 2" masonic lodge of Licio Gelli and Eugenio Cefis.
His friend, the writer Alberto Moravia, considered him "the major Italian poet" of the second half of the 20th century.
Pasolini referred himself as a 'Catholic Marxist' and often used shocking juxtapositions of imagery to expose the vapidity of values in modern society.
His essays and newspaper articles often critized the capitalistic omologation and also often contributed to public controversies which had made him many enemies. In the weeks leading up to his murder he had condemned Italy's political class for its corruption, for neo-fascist terrorist conspiracy and for collusion with the Mafia and the infamous "Propaganda 2" masonic lodge of Licio Gelli and Eugenio Cefis.
His friend, the writer Alberto Moravia, considered him "the major Italian poet" of the second half of the 20th century.
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Displaying 1 - 16 of 16 reviews
May 8, 2020
Before getting to his work in cinema, Pasolini begins by answering questions in regard to Marxism, Catholicism, his mother (whom he dearly loved) and his father (whom he had a turbulent relationship with), his early interest in cinema, his close ties to peasantry, hatred for the bourgeoisie, why he started to write poetry in the friulian dialect, and how reading the likes of Dostoevsky, Shakespeare, and Rimbaud as a youngster drove him further away from the fascist ideologies of those around him.
He goes into detail on his first film Accattone, and his decision to work with all non actors (rarely did he work with proper or well known actors throughout his whole career), then films Mamma Roma and La Ricotta, of which his close friend the writer Giorgio Bassani dubbed the voice of Orson welles. This film was initially banned and led to Pasolini being given a four month suspended sentence under a then fascist law. Comizi d'amore and the documentary style La Rabbia follow, before we get to The Gospel According to St. Matthew, in which I was stunned to learn that Jack Kerouac was bizarrely under consideration for the role of Christ.
After talking about Oedipus Rex, Pasolini touches on the style of his work, his interest in the theatre, at a time when it was practically dead, his theory on cinema, and other film projects, including how he planned to end his days directing by making a film about Socrates. Obviously he never got his wish. The book ends with a Q&A on Theorem starring Terence Stamp, which was the only time Pasolini worked in a bourgeois milieu and with bourgeois characters. With these interviews being from 1968, he had yet to make The Canterbury Tales, The Decameron, Arabian Nights, and Salò. It's a pity, as it have been interesting to see those films put under the spotlight as well. Especially Salò.
As well as the interviewer asking simple to the point questions, he also got pushy (that's what it felt like to me anyway) and challenged Pasolini on some of his ideals and aspects of his work. I wouldn't say Pasolini got oppressive, or was rude or arrogant in his responses, but he did seem a little annoyed at times. But I could be wrong without actually having seen interviewer and interviewee in the same room. Generally though, he seemed like a pleasant guy, and was as honest and open as he could be. Overall, considering I have an interest in Pasolini's work, and Italian cinema of his era, it was a fascinating read.
He goes into detail on his first film Accattone, and his decision to work with all non actors (rarely did he work with proper or well known actors throughout his whole career), then films Mamma Roma and La Ricotta, of which his close friend the writer Giorgio Bassani dubbed the voice of Orson welles. This film was initially banned and led to Pasolini being given a four month suspended sentence under a then fascist law. Comizi d'amore and the documentary style La Rabbia follow, before we get to The Gospel According to St. Matthew, in which I was stunned to learn that Jack Kerouac was bizarrely under consideration for the role of Christ.
After talking about Oedipus Rex, Pasolini touches on the style of his work, his interest in the theatre, at a time when it was practically dead, his theory on cinema, and other film projects, including how he planned to end his days directing by making a film about Socrates. Obviously he never got his wish. The book ends with a Q&A on Theorem starring Terence Stamp, which was the only time Pasolini worked in a bourgeois milieu and with bourgeois characters. With these interviews being from 1968, he had yet to make The Canterbury Tales, The Decameron, Arabian Nights, and Salò. It's a pity, as it have been interesting to see those films put under the spotlight as well. Especially Salò.
As well as the interviewer asking simple to the point questions, he also got pushy (that's what it felt like to me anyway) and challenged Pasolini on some of his ideals and aspects of his work. I wouldn't say Pasolini got oppressive, or was rude or arrogant in his responses, but he did seem a little annoyed at times. But I could be wrong without actually having seen interviewer and interviewee in the same room. Generally though, he seemed like a pleasant guy, and was as honest and open as he could be. Overall, considering I have an interest in Pasolini's work, and Italian cinema of his era, it was a fascinating read.
January 21, 2021
سالها پیش مقالهای خواندم که فقط یک جملهاش در ذهنم ماند: « سینمای پازولینی، شعر ناب است. ». تا پیش از آن فقط اسمش را شنیده بودم و اینکه فیلمهای پیچیدهای دارد. مدتی گذشت تا در جستجوی داستانهای اساطیری و ریشهها و تغسیرها و اقتباسها، دیدم از «ادیپ» و «میدهآ» فیلم ساخته. کمی بعدتر در مطالعه سیر حکایت و داستان دیدم «حکایتهای کانتربوری» و « دکامرون » و « هزارویک شب» را هم ساخته.
با ولع شروع به دیدن همه فیلمهای پازولینی کردم. دنیایی منحصر به فرد. مسحور قابهایش در «میدهآ» شدم. صدای طبیعت در همه فیلمهایش مدهوشکننده است.
وقتی شنیدم این کتاب هست، دوباره فیلمها تماشا کردم تا بعد بخوانمش و هنگام خواندن هم باز نگاه کردم.
مصاحبه هالیدی با پارولینی است در چند جلسه. پازولینی از بچگی و رابطه با پدرش میگوید تا صحبت درباره فیلمهایش، نظریههای زبانی و سینماییاش، رابطهاش با حرب کمونیست و ...
مصاحبه سال ۱۹۶۸ انجام شده و فیلمهای پایانی پازولینی هنوز ساخته نشده بوده. مترجم خوشذوق و عالم کتاب جناب «امینی»، مصاحبهها و مقالههایی از خود پازولینی را درباره فیلمهای بعدش، ضمیمه کردهاند تا کتاب غنیتر شود.
با ولع شروع به دیدن همه فیلمهای پازولینی کردم. دنیایی منحصر به فرد. مسحور قابهایش در «میدهآ» شدم. صدای طبیعت در همه فیلمهایش مدهوشکننده است.
وقتی شنیدم این کتاب هست، دوباره فیلمها تماشا کردم تا بعد بخوانمش و هنگام خواندن هم باز نگاه کردم.
مصاحبه هالیدی با پارولینی است در چند جلسه. پازولینی از بچگی و رابطه با پدرش میگوید تا صحبت درباره فیلمهایش، نظریههای زبانی و سینماییاش، رابطهاش با حرب کمونیست و ...
مصاحبه سال ۱۹۶۸ انجام شده و فیلمهای پایانی پازولینی هنوز ساخته نشده بوده. مترجم خوشذوق و عالم کتاب جناب «امینی»، مصاحبهها و مقالههایی از خود پازولینی را درباره فیلمهای بعدش، ضمیمه کردهاند تا کتاب غنیتر شود.
April 12, 2025
està bé però l’hagués gaudit més si conegués el pasolini cineasta… ara tinc moltes ganes de veure coses d’ell…
llegit a la feina… això ho hauria de dir?
llegit a la feina… això ho hauria de dir?
December 11, 2025
Si us agrada Pasolini això és un bàsic. A través d'unes entrevistes el propi Pasolini analitza i fonamenta la seva obra cinematogràfica i explica detalls de la seva vida que ajuden a comprendre més en profunditat l'artista i el seu pensament ètic, tècnic i estètic. Un must.
July 20, 2009
Fairly interesting series of interviews, edited to deal with Pasolini's films chronologically (I think they interviews took place during the filming of Theorema, so there's nothing on the Trilogy of Life or Salo). The interviews also deal with his childhood and family life, his ambivalent relationship with Italian Marxism, communism, the Italian peasantry and Catholic Christianity. I found his reflections on 'The Gospel according to Saint Matthew' particularly interesting:
''I am not interested in deconsecrating: this is a fashion I hate, it is petit-bourgeois. I want to reconsecrate things as much as possible, I want to re-mythicize them. I did not want to reconstruct the life of Christ as it really was, I wanted to do the life of Christ plus two thousand years of Christian translation...''
And later, a reappraisal of the film itself:
''It is a violently contradictory film, profoundly ambiguous and disconcerting, particularly the figure of Christ - at times he is almost embarrassing, as well as being enigmatic. There are some horrible moments I'm ashamed of, which are almost Counter-Reformation Baroque, repellent - the miracles. The miracles of the loaves and the fishes and Christ walking on the water are disgusting pietism. The jump from these kind of holy picture scenes to the passionate violence of his politics is bound to produce a strong sense of unease in an audience.''
There are also interesting passages on his version of Oedipus Tyrannos and his theoretical exposition of prose- and poetic-cinema. The book makes a good companion piece to a later and more pessimistic interview, recorded while he was filming Salo and released, after he was murdered, as 'Pasolini promisso nostro'.
''I am not interested in deconsecrating: this is a fashion I hate, it is petit-bourgeois. I want to reconsecrate things as much as possible, I want to re-mythicize them. I did not want to reconstruct the life of Christ as it really was, I wanted to do the life of Christ plus two thousand years of Christian translation...''
And later, a reappraisal of the film itself:
''It is a violently contradictory film, profoundly ambiguous and disconcerting, particularly the figure of Christ - at times he is almost embarrassing, as well as being enigmatic. There are some horrible moments I'm ashamed of, which are almost Counter-Reformation Baroque, repellent - the miracles. The miracles of the loaves and the fishes and Christ walking on the water are disgusting pietism. The jump from these kind of holy picture scenes to the passionate violence of his politics is bound to produce a strong sense of unease in an audience.''
There are also interesting passages on his version of Oedipus Tyrannos and his theoretical exposition of prose- and poetic-cinema. The book makes a good companion piece to a later and more pessimistic interview, recorded while he was filming Salo and released, after he was murdered, as 'Pasolini promisso nostro'.
October 2, 2021
گفتگوهایی با پازولینی درباره ی عقاید و پس زمینه و فیلمهایش که به ما در فهم بهتر آثارش کمک می کند.
October 5, 2025
My problem with this book doesn't have to do with Pasolini as much as it has to do with Oswald Stack. The critic simply doesn't provide enough questions leading to especially enlightening answers. So when Pasolini, at one point, says "I'm not very well prepared to answer this, because I've never really thought of it," it's not because Stack has caught Pasolini off-guard with a zinger of a question. It's more like Stack is coming from a place that Pasolini perceives as left field. Overall, this lack of connection between subject and interviewer means one has to make do with the scraps and the tidbits: like a passing mention of Pasolini's enjoyment of Casavettes' "Shadows"; some clearly mixed feelings about Fellini and Rossellini; Pasolini's preference for short takes over long ones. You can tell that these interviews might've gone deeper -- and proven more eternally relevant -- like when Pasolini says something like "There are moments in history when one cannot be innocent, one must be aware; not to be aware is to be guilty." But Stack keeps going back to his own same ideas over and over. Maybe this book reflects work for hire, not a labor of love.
August 29, 2020
در ابتدای کتاب می خوانیم:
سینمای پازولینی عمیقا ریشه در فرهنگ ایتالیا دارد. احساس اغتشاش ذهنی بسیاری از منتقدین انگلیسی و آمریکایی هنگام روبرو شدن با آثارش از همینجاست. سبب تنها این نیست که بسیاری از کسانی که تاثیرات مهمی بر پازولینی داشته اند - پاسکولی، گرامشی، روسلینی - در اینجا (انگلستان) کمتر شناخته هستند، بلکه همچنین به این دلیل است که فرهنگ ایتالیایی خود سرشار از ویژگی ها و اجزای متناقض است که در فیلم های پازولینی منعکس می گردند. آشکارترین این تناقض ها، البته بین کاتولیک گرایی و مارکسگرایی ست. دو آرمان عمده حاکم بر زندگی روشنفکرانه ایتالیا که هر دو اثر خود را بر پازولینی باقی گذاشته اند. بیقراری و خصلت به گزینی از منابع گوناگون در زندگی هنری پازولینی، که دائما از یک قالب به قالب دیگر - نقاشی، شعر، نقد، داستانهای کوتاه، داستانهای بلند، فیلم های داستانی، گزارش و اکنون تاتر - و از این سبک و موضوع به آن در تغییر است، نمایشگر جستجویی است برای آرامش بخشیدن به گوناگونی تناقض های ناسازگاری که به بینش او از دنیا و هنر شکل داده است...
سینمای پازولینی عمیقا ریشه در فرهنگ ایتالیا دارد. احساس اغتشاش ذهنی بسیاری از منتقدین انگلیسی و آمریکایی هنگام روبرو شدن با آثارش از همینجاست. سبب تنها این نیست که بسیاری از کسانی که تاثیرات مهمی بر پازولینی داشته اند - پاسکولی، گرامشی، روسلینی - در اینجا (انگلستان) کمتر شناخته هستند، بلکه همچنین به این دلیل است که فرهنگ ایتالیایی خود سرشار از ویژگی ها و اجزای متناقض است که در فیلم های پازولینی منعکس می گردند. آشکارترین این تناقض ها، البته بین کاتولیک گرایی و مارکسگرایی ست. دو آرمان عمده حاکم بر زندگی روشنفکرانه ایتالیا که هر دو اثر خود را بر پازولینی باقی گذاشته اند. بیقراری و خصلت به گزینی از منابع گوناگون در زندگی هنری پازولینی، که دائما از یک قالب به قالب دیگر - نقاشی، شعر، نقد، داستانهای کوتاه، داستانهای بلند، فیلم های داستانی، گزارش و اکنون تاتر - و از این سبک و موضوع به آن در تغییر است، نمایشگر جستجویی است برای آرامش بخشیدن به گوناگونی تناقض های ناسازگاری که به بینش او از دنیا و هنر شکل داده است...
July 10, 2020
پازولینی در بخشی از مصاحبه با جان هلیدی گفتهاست:
من از ریشه با چنین جامعهای مخالفم؛ جامعهای مثل اسرائیل؛ جامعهای که بر پایه اندیشهٔ نژادی و موعودی استوار است. تأسیس یک کشور بر پایه شالوده مذهبی سه هزار ساله، کاری خطرناک و جنونآمیز است. من با این بینش مذهبی و ملیگرا مخالفم. چنین چیزی وحشتناک است، هر چند که مبنای همه دولتها از همین قبیل است.
من از ریشه با چنین جامعهای مخالفم؛ جامعهای مثل اسرائیل؛ جامعهای که بر پایه اندیشهٔ نژادی و موعودی استوار است. تأسیس یک کشور بر پایه شالوده مذهبی سه هزار ساله، کاری خطرناک و جنونآمیز است. من با این بینش مذهبی و ملیگرا مخالفم. چنین چیزی وحشتناک است، هر چند که مبنای همه دولتها از همین قبیل است.
October 30, 2022
A beautiful volume with several rich B&W inserts of shots from the Pasolini filmography. An early (1969) English-language primer on the cinema of Pasolini, whose future infamy was yet lying dormant. A Hoosier such as myself cannot help but feel a certain provincial pride that a text such as this was compiled and released stateside by none other than Indiana University Press.
March 30, 2025
Está curioso si te interesa mucho el cine de Pasolini. Es un conjunto de entrevistas que repasan toda su carrera cinematográfica y, muy superficialmente, diferentes aspectos de su vida.
July 10, 2020
پازولینی در ۱۹۷۵ در اوستیا در نزدیکی رم، به قتل رسید یک پسر جوان روسپی به نام جوزپه پلوسی مدعی شده بود که قاتل اوست و پازولینی قصد تجاوز به او را داشتهاست (پازولینی یک همجنسگرای آشکار بود و در تعداد معدودی از فیلمهایش نیز به رابطه همجنسگرایانه پرداخته )اما بسیاری معتقدند که قتل او مشکوک و به دلیل انگیزههای سیاسی بودهاست. در هفتم می ۲۰۰۵، پلوسی ادعاهای خود را پس گرفت و اعلام نمود که پازولینی توسط سه نفر با لهجهٔ جنوبی که پازولینی را یک «کمونیست کثیف» خطاب کرده بودند به قتل رسیدهاست. همچنین وی اعلام کرد خانوادهاش مورد تهدید قرار گرفته بودند.
December 16, 2014
almost entirely special interview material, and thus, as ever, good stuff.
August 8, 2019
访谈天赋满点
April 10, 2017
One can say as much as possible about a person but when one hears them speak one gets a sense of knowing them better, even if he or she has not said much. With these interviews Pasolini shows himself as someone really ambiguous and contradictory even but honest, fragile and aware of himself. One can also see someone who at the same time as he is a living turmoil outside of society he also thinks he knows society better than anyone else and although some of his answers are really interesting others might at times seem to generalised in my opinion. Anyone who'd like to know more about Pasolini - with some curious stories along the way - can read this book and build his/her own image of him. It also has really nice images of not only the films but the behind the scenes including a lovely image of Pasolini and Ninetto Davoli that made me want to be part of that film.
Displaying 1 - 16 of 16 reviews