Year: 1969
Duration: 01:33:58
Directed by: Pier Paolo Pasolini
Actors: Pierre Clémenti, Jean-Pierre Léaud, Alberto Lionello
Language: Italian | English Sub-Titles
Country: Italy, France
Also known as: Pigsty, Pocilga, Свинарник, Chlew, Der Schweinestall, Disznóól, El chiquero, Hoirostasio, Pigpen, Porcherie, Sikolätti, Svinestien
Description: There is nothing more mysterious, when what you thought was long dead and buried, suddenly appears in front of you in reality and in the same shape. So two industrialists – a rich man with Nazi past and the hereditary magnate – decided to unite. It was at this moment the latter’s son, as usual, went to the porcile..
Review: “It is difficult to understand the incomprehensible.” – It is this idea first came after the screening of the great Pier Paolo Pasolini “pigsty.” A clear, well-composed scene in the movie is not visible (constant jumping around from one subject to another). Of course, I understand that one complements the other story, but apparently they are not related. Pasolini uses a lot of images, subconscious associations and, of course, long dialogues between the characters. Emphatically not to say that the film “Porcile” weak or, in general, crap.
Certainly, Pier Paolo Pasolini refers to outstanding personalities of the world of culture, such as the writer Erich Maria Remarque background, Leo Tolstoy, Theodore Dreiser, poet Alexander Pushkin, Mikhail Lermontov, Goethe, Schiller, Pablo Picasso, Paul Gauguin, Salvador Dali and many, many others. Educated, cultured man, and would never be called a novel by Fyodor Dostoyevsky “The Idiot” nonsense, the music of Frederic Chopin-nonsense, and paintings by Vincent van Gogh-delusion. Same thing with the work of Pier Paolo Pasolini.
The general sense of the film-parable “Porcile” is clear: Pasolini, as a true artist and a rebel, condemns violence and the lack of spirituality of the consumer society. He skillfully using allegory, compares it to the pigsty society where all are fed and their “pens” (homes, estates), and they do not care: how do the takes-all this wealth.
The author compares the West German neo-fascism and bestiality bourgeois who had enough “life in abundance”, with cannibalism and violence of primitive society. As for the visual expression of this conviction, then I am lost: full of metaphor, allegory, subliminal images.
As to the merits of the bright “pigsty”, then it is certainly a part of the European film stars of the first magnitude (although it’s worth noting that Pasolini never chased stars). The main thing for him was to convey to the audience the ideas and themes that he tormented and tortured. He often took on roles in the films of little-known (or even unknown) actors, and if they play with their appearance and blended well with the general themes of the film director, the Pasolini continued to work with them (the actor is the ideas of the director).
Famous Italian tragicomedian Ugo Tognazzi and Marco Ferreri (subsequently became one of the great European directors-mystifies the twentieth century) is very well absorbed into the overall theme of the film. In addition to them, the “pigsty” starring popular Ninette and Franco Davoli Chitty (except for “Oedipus Rex” appeared together with Pasolini in the “great trilogy of life”: “Decameron,” “The Canterbury Tales” and “The Flower of the Arabian Nights”).
In the end it is worth noting excellent, as always, the work of a trio of operators led by “maestro camera” great Tonino Delli Colli.
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