(out of series) Uccellacci e uccellini (my tv)

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A deeply pessimistic comedy about the collapse of communist politics, anthropological mutation, and the stupidity of religion. What could be sadder than casting the great militant writer Francesco Leonetti as the voice of the crow eventually eaten by our protagonist pair of wandering idiots? Yet, even among Uccellacci e uccellini‘s lacremous signs, we find Pasolini’s improvised, godless utopia of dance. In the second sequence after the credits, a line of boys outside a bar do a 60s line dance to a pop variation of Ennio Morricone’s theme music for the film. Like the twist performed by crew members under the credits of La Ricotta,

the purest example of pleasure in early Pasolini films, the part infernal tango between Ettore Garofolo and Anna Magnani in Mamma Roma

and Ettore’s cha-cha-cha in the same movie, dancing provides the only relief from the brutality of capital. Like the others the scene releases low-stakes sexuality, a freedom from inhibition that suggests no outsiders are watching (even if an insert of Totò shows him giving the boys a contemptuous look,) and most of all successful movement. The movement provides only hope in Pasolini’s films; he knew that the only way out is through. Although the dancers move without going anywhere their movements transform our circle of shit into a temporary secular paradise. Would make a good double feature with Francesco, giullare di Dio

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