Greenes Please don't spend money on this.

Claysaba Excellent, Without a doubt!!

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

JoeKulik Pasollini's Accattone (1961) is a film that clearly shows the writer/director was not only uninformed, but even naive about the social situation to which his film related. This film is so detached from the slum life of the big city, and the realities of the life of pimps and prostitutes that it could better be called an example of Un-Realism, than Neo-Realism.This filmmaker couldn't even stage a good street fight, just showing two guys rolling around in the street locked in bear hugs.The protagonist's first prostitute is portrayed getting a broken leg, and is soon shown thereafter walking around with a cast on the leg, yet with no limp, or crutches. Sorry, but having a broken leg doesn't work that way.This first prostitute is shown getting badly beaten, yet then is shown in the police station without a bruise on her. Now that Neo-Un-Realism, if I ever saw it.That the protagonist is shown almost starving after his only hooker is jailed is just STUPID. Pimps are street savvy guys who have more than one girl in their stable, and are street smart enough to make money in a variety of ways besides pimping.I could go on and on, but what's the point? The costumes, the characters, and dialogue is nothing close to appropriate for the social situation that this film is supposedly portraying. This filmmaker obviously never entered the slums of a big city, and never met real pimps and prostitutes. He was making a supposedly realistic account of a social scene of which he was obviously ignorant.This is the first Pasollini film that I've viewed, and it's his first film that he made. But solely on the basis of viewing his first film, I really don't think that this guy showed enough here to merit a second chance.

Sean Reilly This just might be the greatest movie I've ever seen. There are two key elements here: the first is Pasolini's genius. Martin Scorcese, or however his name is spelt, is, was, and always will be the poor mans poor mans poor mans Pasolini. Pasolini's subtleness, his understanding of human nature... where does one stop? The second incredible element is that Citti is LANGUID CHARISMA personified. I used to think Jimmy Coburn was the king of such effortless charisma, but I've never seen a performance like this in my life. And I believe the cast were all pretty much amateurs also.Bach's genius is used hauntingly, in many ways this provides a link to his movie on Our Lord. This is just too beautiful a movie experience for words. I joined IMDb today solely to comment on what I consider to the worst movie I ever saw, two nights ago, called 'love actually'. Well, Accattone is probably the best.

hasosch "Accattone" was Pasolini's first film. Besides his huge engagement for the under-privileged, we have already here practically all motives that go like a "fil rouge" through Pasolini's whole work: The use of dialects and generally linguistic substandard instead of the literary language, the decision for the suburbs instead of the city, the atheist world in concurrence with a very often negative Catholic substrate, the mavericks who live at the edges of society in comparison to a bourgeoisie that turns out to be fascist in Pasolini's Marxist interpretation, and possibly also Pasolini's imperturbable belief in educating the uneducated, the illiterate, the so-called scum of society. (It is a more than tragic fact that while Pasolini in his real life even went so far as to have lectures in the slums in the front of an audience that could not understand him, he finally got a victim from exactly the same people who did accept him as he accepted them."Accattone" is the story about a wasted, senseless and hopeless life. The title-hero leaves his wife and children in order to become a pimp. With his colleagues he spends his days drinking, gambling, betting. He does not mind to send back to street-walking his severely hurt prime-whore "Maddalena". In the night he dreams that he is dead and forbidden to attend his own funeral. On the other side, he squeals on his friends for a plate of pasta. For a short time there is light in Accatone's dark life: He meets Stella, the "star", and spoils her with gifts that he pays from the money of items robbed from his own son. However - and here we have a "prodromus"-motive from "Mamma Roma" - Accattone learns that Stella, too, was a whore once. So he forces her to street-walking, too. But he forgot Maddalena while she had not forgotten what he had done to her. When she hears from Accattones new luck, she gives the police a tip. Now they can observe him and his gang during a major robbery. Before they catch him, he tries to flee, but dies by driving with full-speed into a truck. While he lies dying at a curb of the street, one of his colleagues makes the cross-sign with handcuffed arms. Accattonne - the "Anti-Christ" or better "Counter-Christ" in the word's most original sense. Pasolini himself wrote: "I wish that only very few people will see in the crossing at the end a sign of hope".

nnad Accatone is an interesting film because Pasolini exposes to his audience a particular lifestyle and social class which would not be accurately touched on in an American picture. If Hollywood had ever discussed Accatone's subject matter they would display it with all its stereotypical adornments and falsities which most US moviegoers are accustomed to. Pasolini is not afraid to present the grittier side of the subproletariat as is epitomized in the film's main character, Accatone, who struggles with his profession of pimping and becoming more sensitive to his women and to the world. Pasolini's debut is delicately permeated with political concepts and allegories, yet we can see that he is experimenting newly with the technique of film and developing a filmic narrative structure; more of his full-fledged sociopolitical allegories would be pursued in films like The Gospel and Hawks and Sparrows. The film stars Franco Citti who at the time of making of the film was a nonprofessional. However his performance is substantial considering him being a novice and having his voice overdubbed by another actor. Citti would soon become a Pasolini regular, starring in Oedipus Rex, Arabian Nights, and other supporting roles. However, as the film progresses the attention is centered on the female lead, who plays the naive soon-to-be callous farm worker who is duped by Accatone into prostitution. Before Pasolini ventured into the cinema he had a knack for writing. In his first two novels Pasolini had utilized the language of his mother's homeland, Friuli, for colloquial discourse amongst his characters who lived in subproletariat communities. It is not surprising that the subject of these novels would be the focal point of Accatone. In addition I believe Pasolini had rendered his ideas (from his literature) appropriately for his film, yet not becoming to carried away with fidelity and technical aspects which are profuse in films today. To this day there are apparently no film directors as consciously aware of his country and government as Pasolini was and that would transcend these beliefs into his art with controversy yet at the same time subtlety.