Accattone (1961)

 Pier Paolo Pasolini's "Accattone"

My first introduction to Pier Paolo Pasolini, 1961's "Accattone," also happens to be his debut film. Starting out as a poet in the 1940s, Pasolini transitioned to publishing novels in the 1950s, which included much of his poetry. However, he was already starting controversy, as many believed his work to be 'obscene.' Despite the criticism, Pasolini would continue to publish narrative stories, poetry, and essays. It was in 1957 that Pasolini entered the world of film, in which he collaborated with Federico Fellini with the script for "Nights of Cabiria." It wasn't much longer after that Pasolini got to make his own film.

His debut, "Accattone" was much in line with the controversial subject matter from his writings. It centers on a pimp on the outskirts of Rome named 'Accattone,' or 'scoundrel.' After a rival gang injures his prostitute, she ends up in prison after giving false testimony (which wasn't actually false). After losing his income, his world suddenly turns upside down. His attempts to reconcile with his previous wife and their son fail, his new prostitute doesn't quite work out well, and he quits his new job as a iron worker after only one day. 

Simply iterating the plot does not, however, indicate the true character of the film. Nor does it exemplify the type of tone it exudes. Our protagonist is downright morally unsavory and personifies this villainous quality in every interaction, every relationship, and every decision he makes. After a while, his choices begin to ware on the viewer, turning the entire film experience into a nasty affair. 

By nasty, I don't mean disgusting. Really, the film is a bleak portrayal of the human spirit. It almost feels like an inverse film to "Leon Morin, Priest" which came out in the same year. Not only does our protagonist exemplify the blackness at the heart of humanity, but his socio-economic conditions allow for this type of bad intentionality to arise. The characters live in a state of deep poverty, as visually demonstrated by the abundance of ruins and decay in the wake of World War II. 

Pasolini continues to reference thematic ideas visually. Our protagonist's 'pimping' and general manipulative behavior continues to be paralleled to religious iconography, as Pasolini inserts powerful, towering churches and cathedrals in visual conjunction with Accattone. This is especially stark given the rubble that surrounds these locations, visually contrasting the two. Pasolini seems to iterate that the church and religious institutions in general act as pimps in a world of desperate people needing assistance. 

"Accattone," to me, feels spiritually related to a Bresson film. It seethes with a pitch-black viewpoint of the human soul and expresses these sentiments through both the actions of its characters, along with the depilating circumstances that unrelentingly oppresses their daily life. Because of its dealing with prostitution and general bleakness, it was pulled from general release and censored by the Italian government. Despite this, it was critically acclaim and is deemed ultimately a success in the eyes of art appreciators for decades to come.