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Hawks and Sparrows (1966) / Pigsty (1969) [Masters of Cinema] Limited Edition (Blu-ray)
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Two films from one of the most revered and controversial directors of all time!
From its sung opening credits, Hawks and Sparrows (Uccellacci e uccellini) is a wonderfully free-form picaresque fable that lampoons politics, religion and the state of modern Italy, as the beloved comic actor Totò, Pasolini regular Ninetto Davoli and a talking crow wander the landscape through a gauntlet of unexpected encounters.
Pigsty (Porcile) is one of his most controversial works, interspersing the mute wanderings of cannibalistic savages against a barren, volcanic earth with the tale of Julian (played by Nouvelle Vague icon Jean-Pierre Léaud), his radically politicised fiancée Ida (Anne Wiazemsky, Au Hasard Balthazar), and the financial machinations of his father Herr Klotz in contemporary industrialised Germany.
Both films demonstrate a restless, pioneering artist's exploration of the natural world contrasted with the societal structures that govern human life. Visually inspired and playing by no-one's rules other than his own, these two brilliant works by Pasolini are presented on Blu-ray for the first time in a new limited edition.
- Limited to 1500 copies
- High-definition transfers of both films, with uncompressed monaural soundtracks
- Theatrical trailers for both films
- Optional English subtitles
- PLUS: A booklet featuring essays on both films by Pasquale Iannone, a 1969 interview by Oswald Stack with the director about Hawks and Sparrows; an English translation by Iannone of a 1974 interview with Pasolini discussing Totó; a 1969 note on Pigsty by Pasolini circulated at the Venice première; an extract from a 1969 interview by Gian Piero Brunetta with Pasolini; and rare archival imagery
[PIGSTY] ''Not only an exquisitely revolting satire, it is also Pasolini's most fascinating piece of cinema'' --Time Out
[PIGSTY] ''One of Pasolini's most enigmatic films'' --Film 4
[HAWKS AND SPARROWS] ''An intriguing tragicomic fable that shows two delightful innocents caught, like many Italians at the time, between the Church and communism'' --Film 4
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While Totò's performance is amazing, Pasolini's direction is poor and the script is full of hackneyed Marxist/Freudian claptrap which is not really funny anymore. As usual, Ennio Morricone's score is wonderful and the images are occasionally stunning, making the bad editing and direction more noticeable.