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4 of 4 people found the following review helpful
5.0 out of 5 stars a great 60s classic
Theorem is an amazing visual experience, and seeing it on the big screen - or on a high quality screen at home, no doubt - brings out just how avant-garde it still seems. The main thing about it for me is its extraordinary tone, both serious and comical, often at the same time. It is highly original in this respect, constantly surprising the viewer with its breathtaking...
Published on 22 Mar 2012 by schumann_bg

versus
6 of 9 people found the following review helpful
3.0 out of 5 stars Theorem - and an interesting interview with Mr Stamp
I got this DVD out of curiosity - not realising that Terence Stamp had done a film with Pasolini. Theorem is somewhat similar to Pasolini's other ad lib social comment stuff from the 60s. Not at all like Gospel of St Matthew, the Decameron or Medea where the subject matter is historical.
For me the gem of this DVD was the bonus 30 minute interview with Terence Stamp...
Published on 21 Dec 2011 by D. Warner


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4 of 4 people found the following review helpful
5.0 out of 5 stars a great 60s classic, 22 Mar 2012
By 
schumann_bg - See all my reviews
(TOP 100 REVIEWER)   
This review is from: Theorem (DVD + Blu-ray) (Blu-ray)
Theorem is an amazing visual experience, and seeing it on the big screen - or on a high quality screen at home, no doubt - brings out just how avant-garde it still seems. The main thing about it for me is its extraordinary tone, both serious and comical, often at the same time. It is highly original in this respect, constantly surprising the viewer with its breathtaking sense of the human face and how to use the camera, when to cut away and how to get the specificity of place and incident. It opens a bit like a Godard film, with a satirical interview of factory employees whose boss has just handed over the factory to their ownership, in which the interviewer answers his own questions, in effect. We then see the events that lead up to this extraordinary action. At this point it becomes something else - always about cinema and its power, but shot through a gay lens that places it quite far from Godard. The Terence Stamp character is a kind of Christ figure but without the prohibition on sexuality that Christianity usually entails. Here it is quite the opposite: he releases the desires of all the members of the family, plus the maid. His openness towards their desires is so in conflict with their assumed identities that they all go to pieces, although the exact tone of all this is highly ambiguous. There are so many sequences you remember from this film: Silvana Mangano in the summer house staring lasciviously at his discarded clothes, with her perfect make-up; the son urinating on his art, the maid becoming a saint, the speeches everyone makes before the stranger's departure, both slightly absurd and moving, Ninetto Davoli flapping into the forecourt with the mail like a human pelican ... Then there is the repeated landscape of taupe-coloured dust which blows into the air in wisps, and Mozart's profound Requiem, performed in a slow-paced version, set against some jazz by Ennio Morricone. Not forgetting a period pop song coming out of a sixties portable SP record player on the floor of the bedroom Stamp shares with the son - or so it seems, although actually it is just on the soundtrack as they get into bed and lie there in the dark, the son overwhelmed with temptation ... an inspired juxtaposition! It is a unique film, with the house element being a bit like Ozon, but working on a bigger canvas - in fact, it doesn't get any bigger than this.
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34 of 40 people found the following review helpful
5.0 out of 5 stars Saint Terence, 14 April 2008
By 
HJ (London UK) - See all my reviews
This review is from: Theorem [1968] [DVD] (DVD)
A guest arrives at a bourgeois household and, in turn, seduces everyone: father, mother, daughter, son and maid. (Actually he doesn't seduce anyone but responds in a non-judgemental way to other people's desires - as Terence Stamp points out in the accompanying interview).
"Theorem" is one of the true classics of 1960s European art/auteur cinema. I imagine most people interested in this film already know it well. I'd just like to say that this is a fine new DVD edition from the BFI - good sharp print, nice booklet with review from 1968 & a new informative essay and the disc has an entertaining newly filmed interview with Mr Stamp, who worships Fellini & has a grudge against Pasolini almost as big as his grudge against Antonioni, but is perceptive about his character/role. And the fact is that Pasolini enabled Stamp to give his greatest performance.
As the interviews & essays discuss, the basic Marx-meets-Freud "theorem" that the bourgeois patriarchal family is upheld by sexual repression is pure 1968, but the film has proved timeless because of its unique mysterious & poetic quality. Also obvious, in retrospect, is that much of the film is really a representation of Pasolini's anxieties over his own homosexuality - mostly displaced onto poor Silvana Magnano, the housewife! Anyway, this is one 60s classic that actually improves with age - much imitated but never bettered - & well worth getting on this DVD edition.
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6 of 7 people found the following review helpful
5.0 out of 5 stars New BFI Blu-ray, 12 Jun 2013
By 
A. S. Potts (London UK) - See all my reviews
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This review is from: Theorem (DVD + Blu-ray) (Blu-ray)
This is the latest Pasolini package from the BFI - containing a new Blu-ray transfer and a DVD disc. The decision not to include the Terence Stamp interview on the Blu-ray disc is irritating, but par for the course for the BFI. Eureka manage to duplicate the entire content on both discs and I would have thought that having the content on both discs was the purpose of a dual format set. Nevertheless, a very worth while release.

Although there are still signs of source material damage the restoration has reduced it to the extent that it does not impinge upon the viewing experience too much - unless you are very pernickety. What is very apparent is the film's rich visual texture, from monochrome through grainy sepia to sumptuous colour. The overall impression is one of a very dense almost over saturated world, a world that is superficially recognisable but which is in fact deeply disturbing. The film is composed of a series of moments with little regard to conventional narrative development or continuity.

I understand that Italy's roman catholic authorities prosecuted Pasolini for obscenity in respect of Theorem, I wonder if they would have preferred to get him for blasphemy but realised that they would have fallen into the trap of acknowledging that the film was an allusion to Jesus.

The varied visual textures are echoed by Pasolini's use of a number of pictorial techniques particularly during the film's unusual [even by Pasolini standards] opening sequences. A much loved motif, the volcanic ashes of Mt Etna, features here and did so in many films from Matthew to Medea. There's some quasi news footage in monochrome and another visual device, much favoured by Pasolini, the direct referencing, perhaps parodying of silent film. After this the major part of film settles down to some stunning colour cinematography which results in some truly beautiful images.

The sound track, which is almost absent in places, is subtle and haunting and is enhanced sometimes with jangly guitar rifts by Ennio Morricone and at other times with a very melancholy jazz motif. I think the sound track along with the pacing, the narrative settings and the cinematography are all powerful examples of Pasolini at work during his most productive film-making period. During this period, 1966 to 1969, he made five films, Uccellacci e uccellini, Edipo re, Teorema, Porcile and Medea.

A mesmerising and absorbing experience.
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5 of 6 people found the following review helpful
5.0 out of 5 stars Theorem [Blu-ray + DVD], 29 Jun 2013
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This review is from: Theorem (DVD + Blu-ray) (Blu-ray)
Theorem [Blu-ray + DVD] [1968] A film by Pier Paolo Pasolini - A handsome, enigmatic stranger [Terence Stamp] arrives at a bourgeois household in Milan and successively seduces each family member, not forgetting the maid. Then, as abruptly and mysteriously as he arrived, he departs, leaving the members of the household to make what sense they can of their lives in the void of his absence. In this cool, richly complex and provocative political allegory, Pasolini uses his schematic plot to explore family dynamics, the intersection of class and sex, and the nature of different sexualities. After winning a prize at the Venice Film Festival, Theorem was subsequently banned on an obscenity charge, but Pasolini later won an acquittal on the grounds of the films 'high artistic value'. Theorem is visually ravishing, with superb performances from its international cast and a brilliantly eclectic soundtrack featuring music by composers ranging from Mozart and Morricone.

Actors: Terence Stamp, Silvana Mangano, Massimo Girotti, Anne Wiazemsky, Laura Betti and Andrés José Cruz Soublette
Director/Screenplay: Pier Paolo Pasolini
Format: colour and tinted black & white
Sound: Disc 1: PCM Mono Audio / Disc 2: Dolby Digital Audio
Language: Italian / English
Subtitles: English
Running Time: 94 minutes
Region: Region B/2
Aspect Ratio: 1.85:1
Number of discs: 2
Studio: Bfi

Special features:
Presented in both High Definition and Standard Definition.
Optional alternative English language soundtrack.
Audio commentary by Italian film expert Robert Gordon.
An Interview with Terence Stamp [2007, 34 minutes DVD only]
2013 theatrical release trailer.
Fully illustrated booklet with essay by Geoffrey Nowell-Smith, review by Philip Strick and biographies of Pasolini and Stamp.

Andrew's Review - There's something simultaneously infuriating and delightful about the situation explored in Pasolini's 1968 film Theorem. The director teases the viewer with a proposition during the opening minutes of the film, shot documentary-interview style, in which he considers what would be the impact should a bourgeois owner of a factory give his business over over into the hands of the workers. Would this now make the workers the new bourgeoisie? On the one hand, the apparent simplicity of the theorem's proposition and Pasolini's testing of it seems either obscure or ludicrously reductive, the film detailing a stranger's interaction with a bourgeois family on one half of the equation with the result that their lives undergo a radical transformation in the second half. The film offers no explanation or justification for what occurs, but the manner in which it expresses its ideas is daring and intriguing, opening up many other possible interpretations.

Social change, personal development, freedom of artistic expression, sexual liberation and shattering of bourgeois values are all Pasolini's targets, and like Godard, particularly during this period, that revolution extends to the screen, breaking the format, defying expectations, playing the part of revolutionary, prophet and artist. The ultimate purpose of Theorem or its relative success may therefore be difficult to define, but its intent is at least to is to challenge the viewer and force them to re-evaluate what they think they know and perhaps discover something new.

The Discs - Previously released by the BFI on DVD only, Theorem has been upgraded to a Dual-Format Blu-ray and DVD edition. The film is presented both on Blu-ray on a single-layer BD50 disc, and on a dual-layer DVD-9 disc. The Blu-ray is encoded at 1080p/24fps, the DVD is in PAL format. The Blu-ray and the DVD were viewed on check discs and not final copies, so region-coding wasn't checked. As a UK release however, the discs will at least be Region B/Region 2 compatible.

The Video - The quality of the transfer was already high on the existing DVD release, so there might not be any major improvement evident here in its upgrade to High Definition. The Blu-ray has the same look and feel of the DVD (as well as a commonality of tone with the Pasolini films Theorem most closely resembles - Oedipus Rex and Pigsty). Contrast is strong and there is not an exceptional amount of extra detail in the HD image. The deep blacks are certainly more accurately rendered, but there is still not a great amount of shadow detail. Colours have a cool, neutral, natural tone. A significant amount of exteriors however are shot during early mornings or evenings and the golden glow of the sunrises and sunsets come over well in the transfer. Some minor print wavering or flicker is evident and grain is visible, but nothing more than you would expect from a film of this age. Overall however, the image is remarkably clean and sharp, with only a few stray dust spots visible. Some compression blocking or noise reduction artefacts are evident, but there are only really detectable in freeze-frame.

The Audio - The Italian audio track (PCM mono 48k/24-bit on Blu-ray, Dolby Digital 2.0 mono on DVD) doesn't exhibit a great dynamic range, but it is clear and has few problems with analogue noise. Surprisingly, while small sound effects are relatively clear, it is the music score that is most lacking, but this is probably down to the original mixing and source materials.

In an addition over the original DVD release, the film's English dub is also included on the Blu-ray and the DVD. The dub obviously dates from the film's release and uses mainly American voice-actors for most of the cast, but presumably Terence Stamp speaks his own dialogue (he doesn't really have enough lines to be certain of this). Not surprisingly, considering the international casting and the way films were made in Italy at this time, the lip-sync in English is much better than the Italian version. It's clear that almost everyone, even the Italian actors, were actually delivering their lines in English here, and it was only dubbed afterwards into Italian. The quality of the English dub has some low-level background noise, but is generally fine and clear. I thought it worked perfectly well with the film.

Subtitles - English subtitles are included, in a white font and they are clear throughout. Some minor interjections and phrases where the meaning is quite apparent are left un-translated. In a film where there is not a great deal of dialogue, there is a certain balance to maintain and it strikes me that it has been achieved here. All extra features are subtitled in English except for Robert Gordon's commentary, which is curious, as it was subtitled on the previous DVD only release of Theorem.

Extras - Commentary - Italian film expert Robert Gordon presents a full and informative commentary for the film. It's often descriptive of what is happening on the screen, but at the same time interpretative and makes many interesting observations. Gordon also takes the time to place the film in the context of Pasolini's other films, as well as his writing, his life and his themes. It doesn't perhaps offer any major illumination on the film's treatment than can be grasped by any viewer themselves, but Gordon is a decent commentator and it's never dull or overly academic.

Interview with Terence Stamp - In a simply delightful and fascinating interview from 2007 - available only on the DVD - Stamp reflects on what was an important period for him, liberating himself as an actor first for Fellini and then for Pasolini before abandoning it all and going to live on an Ashram in India. The interview is edited down quite a bit - Stamp, as we've seen in some recent appearances could talk for hours - but he is given plenty of time to develop his thoughts and stories about getting involved on this film specifically, working (or not, as it were) with Pasolini, trying to figure out the man and his contradictions, as well as how he sees his own character in the film. Very frank and often very funny, Stamp is mesmerising here - you could listen to him all day.

The extras are rounded out nicely by BFI's booklet, containing an essay by Geoffrey Nowell-Smith, Philip Strick's original 1969 film review and biographical information on Pasolini and Stamp. The only other addition to the new edition is the 2013 Theatrical Release Trailer.

Theorem was given a special award by the International Catholic Film Office when it was shown at the Venice Film Festival in 1968. But the award was then withdrawn, and the film renounced by the Pope because it apparently did not `respect the sensibility of Christian people'. These contradictory reactions sum up a film which seems by its very nature to embody opposites: the possibility of a supernatural transcendence is contemplated, yet all those who encounter it are left destroyed. Is the Visitor an angel or a devil? Do the reactions of the visited family (which seem to echo the forms of escape sought by many in late-sixties Europe) excoriate 20th century capitalism or are they merely the historically inevitable results of humanity's estrangement from its primal past? Such questions are raised by the film almost without our being fully aware of their presence in the mind, and many more half-formed disquietudes of the soul are seeded by its lyrical, visually intoxicating poetry. It also has worth as a late-sixties cultural time capsule, capturing urban and pastoral shades of a transforming Italy during a period of great cultural upheaval and uncertainty.

Finally, Provocative, controversial, experimental, Theorem is definitely a product of its time, but such is Pasolini's brilliance, his method of keeping the subject elusive and vague while at the same time simple and meaningful, that the film stands up very well today. The BFI's High Definition dual-format upgrade doesn't significantly improve on the previous DVD release, but this is still an impressive release with some good extra features that contribute to a fine appreciation of the film. This BFI package is a must for the student of 20th century cinema, providing both the best possible reproduction of the movie and a host of enlightening, educational commentaries on it with the extras and booklet pieces. I totally recommended this BFI package, as they have done a stunning job and if you want to view a film that makes you think, then this will definitely be for you and I am so proud to have this in my Blu-ray Collection and if you feel this is not for you, well then your really missing out on a truly stunning Pier Paolo Pasolini classic film of its time and now I have the ultimate version. Sadly if people overseas, especially in America who want to view this Region B Blu-ray disc, then your have to have a Multi-region Blu-ray Player.

Mr. Andrew C. Miller [Your Ultimate No.1 Fan]
Le Cinema Paradiso
WARE, United Kingdom
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2 of 3 people found the following review helpful
5.0 out of 5 stars Freedom, the bourgeoisie and the curse, 11 Aug 2013
By 
Luc REYNAERT (Beernem, Belgium) - See all my reviews
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This review is from: Theorem [1968] [DVD] (DVD)
A lot of ink has already flown over the apparently enigmatic movie `Teorema' shot by Pier Paolo Pasolini. Hereafter my own interpretation in the light of his whole work.

Pier Paolo Pasolini's curse
As he explained in his book `Amado Mio - Atti Impuri', P.P. Pasolini's lifelong curse was the sexual attraction of ephebes.
This curse was a Christian one.
Homosexual relations between an older man and an adolescent were considered to be totally natural in ancient times (Sparta, Marcus Aurelius, Theocritus) before Christianity became the dominant, totalitarian religion, with its morality holding on that procreation was the only goal of sexual intercourse. The Christian Churches considered also that the family nucleus was the best means to propagate its own religious faith from the parents to the children.

This curse was also a bourgeois one.
Promiscuity was rampant among the majority of the population (the lower classes which possessed nothing) and the nobility (except for the legal spouses, because within the ruling classes the fatherhood had to be assured). The bourgeois class crept out of the mud of the lower classes and adopted the family policy of the Christian Churches. The wealth gathered by lifelong hard toiling had to be preserved within the family. For those whose sexual (promiscuous) drive was too strong, there were the brothels exploited by the Churches (E.J. Burford).

Pasolini's gospel: free sexuality
`Teorema' is a plea for free sexuality, personified in the main character of the movie played by Terence Stamp. He has sexual intercourse with everybody: young and old, male and female, the lower and the middle classes. This free sexuality shatters the family nucleus and shakes fundamentally the behavior of its members. It fully undermines the Christian bourgeois morality, which stands in the way of people wanting to live fully their own sexuality. But, before it can be implemented, a community has to go through the desert.
P. P. Pasolini didn't foresee that between the 1960s and now, the Christian and the bourgeois mentality and morality would nearly totally disappear. People now can change partners as easy as they can change their shirts. Only children are legally protected.
In `Comizi d'amore' (1964) Pier Paolo Pasolini was openly insulted to be a disgusting individual (by people who didn't know his sexual preference).

And what about Pasolini's communism?
In the beginning of the movie, an entrepreneur gives his plant freely away to his workforce. But, one of the workers says that this is not enough: one should also get rid of bourgeois morals. One should not forget that after the Bolshevik revolution in the USSR `free love associations' became a norm (not for long) under the advocacy of Alexandra Kollontai.

Although sexual morals have substantially changed since the shooting of this movie, its bold treatment of human sexuality is still unsettling.
Not to be missed.
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6 of 9 people found the following review helpful
3.0 out of 5 stars Theorem - and an interesting interview with Mr Stamp, 21 Dec 2011
By 
D. Warner "Brixton Dave" (London, England) - See all my reviews
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This review is from: Theorem [1968] [DVD] (DVD)
I got this DVD out of curiosity - not realising that Terence Stamp had done a film with Pasolini. Theorem is somewhat similar to Pasolini's other ad lib social comment stuff from the 60s. Not at all like Gospel of St Matthew, the Decameron or Medea where the subject matter is historical.
For me the gem of this DVD was the bonus 30 minute interview with Terence Stamp at the BFI/NFT in about 2005.
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13 of 21 people found the following review helpful
5.0 out of 5 stars How would you react to pure love?, 18 Feb 2009
By 
Alan Wakeman (London, England) - See all my reviews
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This review is from: Theorem [1968] [DVD] (DVD)
Pasolini's Theorem portrays what happens to a suburban Italian family visited by an angel who offers each in turn a brief experience of pure love.
The son feels worthless and turns to art to save himself; the mother tries to recreate the experience with teenage boys she cruises in her car; the daughter loses the will to live while the father is driven to total despair. The maid alone finds spiritual meaning but even she is destroyed in the end.
Pasolini's bleak view of materialism is masterful, mysterious and compelling.
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2 of 5 people found the following review helpful
5.0 out of 5 stars Erotic delight!, 29 April 2011
By 
Adrian Drew (UK) - See all my reviews
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This review is from: Theorem [1968] [DVD] (DVD)
This extraordinary film still has the power to shock. As the leading man sleeps with literally every member of the family we are given a fascinating perspective on society, politics and artistic production. A film with a fierce mind, a sensuous body and a profound - if materialist - soul!
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4 of 9 people found the following review helpful
5.0 out of 5 stars Pasolini at his best, 7 Dec 2010
By 
W. F. Laman "Wim" (Netherlands) - See all my reviews
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This review is from: Theorem [1968] [DVD] (DVD)
Pasolini at his best: a timeless mythology of sexual personae who remain lonely in an inhospitable world after their "redeemer" has disappeared.
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3 of 8 people found the following review helpful
5.0 out of 5 stars In 1968 Pasolini was playing the prophet, 4 Nov 2010
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This review is from: Theorem [1968] [DVD] (DVD)
It is like the sequel of Pasolini's "Gospel According to Saint Matthew". It is a direct transposition of that young man who is bringing love to the world in the class-struggle-ridden city of Milano. If love came to a bourgeois family what would happen?

The mother would discover what she has never experienced and she would become an insatiable love seeking, we mean of course sex chasing, woman picking young students in the streets, male of course, to have a quick experience no matter where, no matter how, provided it is quick and complete.

The daughter would just get catatonic after the discovery of that physical love she did not know before and she can't imagine with anyone else after having had that relation with the angel of love, the archangel Gabriel of course. She will end up being taken away to some institution.

The son will have discovered the love he was looking for but that makes him different and he does not want to be different, so he will just promote his difference to the status of art and he will start painting beautiful abstract things with no resemblance to anything at all, in one word his own desire for the forbidden in society but a dream that is allowed by that angel of love, the archangel Gabriel of course.

The maid will start eating stinging nettles and making miracles, floating in mid air over the roof and being worshipped as a saint able to deliver te cure to all evils. And that will have to stop one day and on that day she will have herself buried in some kind of building site to disappear in her own tears under tower blocks.

Finally the father will be the one who shows the way to salvation. He will get rid of his factory and will give it to the workers. The class struggle will win and the workers will be able to establish the dictatorship of the proletariat, a hammer and a sickle, or vice versa in Italy. And then he will be able to answer the call of some young male well endowed angel and to undress in Milano's main train station, get rid of all superficial appearances and finally follow his angel of love into the desert, yes the desert, because that's all there is for the bourgeoisie and then he will realize his mistake, he will realize one must never yield to class struggle because it is an impasse, but all the same the command of Jesus to the rich to get rid of their riches and distribute them to the poor and then follow him is a blind alley, an alley for the blind, an alley that leads nowhere at all except perdition.

Just like Jesus brought love to Jerusalem and ended up on the cross, betrayed by his own disciple, capitalism is an impasse but negating capitalism is another impasse. There is no way out of that vision of society cut in too without any love.

And that's why the film has aged tremendously. Class struggle or even social war, liberation wars that end up in pure terrorism, the belief that the world can be cut in two antagonistic halves lead to nowhere. It is a myth, it is a dream, not even a utopia because it does not bring liberation but it brings totalitarianism, dictatorship, terrorism, including the civilized terrorism of that new age theory that society is a set of interconnected networks and it is enough to drop a stone, or a bomb, in one nodal point to paralyze the whole system, like blocking the flow of gas and diesel, to bring society dons on its knees in about four weeks.

The four weeks that are supposed to shake the world and end up in failure and blood or frustration like with the Tamil Tigers, the FARCs, Ben Laden, the ETA in Basque country, and all other pirates in the world. The world is not divided in two antagonistic halves. To believe that is to lead everyone to the desert, the absolute waterless, cool-less, food-less desert and not for forty days but forever and ever. By the way that vision of Jesus and Christendom is absolutely old fashioned, passé, dead.

Pasolini's message in 1968 was absolutely dramatic and realistically pessimistic. How could anyone believe the extreme communistic, Trotskyite, anarchistic movements were going to try to take over and some will support that, not seeing it is pure feudalism and these new heroes are nothing but war lords. And when they try to behave like professional trade-union leaders they become amateurish generals of social war, class against class.

Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Paris 8 Saint Denis, University Paris 12 Créteil, CEGID
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