Accattone , Pier Paolo Pasolini's first feature, is also his first semidocumentary study of "the little homelands": the small, often squalid cultural pockets in the remotest provinces of Italy. Using nonprofessional actors for his leading characters, Pasolini concentrates on Franco Citti, a rural pimp who falls in love with virtuous Franca Pasut. Having previously led an aimless existence, Citti takes a job-and, it is implied, a bath--in hopes of impressing his new girl. It isn't long, however,
before Citti gives up both job and Pasut, degenerating into a life of violent crime. As was the case with most of his subsequent films, Pasolini both directed and wrote Accattone, adapting the screenplay from his own novel ~ Hal Erickson, Rovi
The character of Accattone himself, self-destructive and conscious of his situation within a class from which he cannot escape, embodies many of the contradictions in Pasolini's lifetime of coming to terms with Marxism and Catholicism.
Arguably one of the most impressive debuts of all time, Pier Paolo Pasolini had something to say and didn't mind taking risks saying it (he was dually arrested after filming). A tough background made him into an interesting character with interesting stories to tell, never scared to stand against political regime or
religious doctrine. Here we have one of his finest films, certainly one of the finest films of the era. A blend of political and social commentary of post war capitalism and how it left many people behind. Beautifully shot in a neo-realistic, almost brutal fashion, new wave ain't got nothing on this! Why this film isn't uttered under the same breath or regarded as highly as films such as The Bicycle Thieves or Taxi Driver is beyond me, it's barely a cult classic yet other inferior imitations are embraced and celebrated. If you haven't yet seen it, you know what to do!
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