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Cinema Lumière, Sala Scorsese (via Azzo Gardino, 65/b), Bologna
Martedì 2 novembre, ore 18
Pasolini inedito
PIER PAOLO PASOLINI: A FILMAKER’S LIFE (Stati Uniti/1971, 30') di Carlo Hayman-Chaffey
Un ritratto 'in movimento' di Pasolini, inedito in Italia, realizzato nel 1970 da un cineasta indipendente statunitense. Il poeta-regista ha appena presentato Medea in Europa e sta progettando il San Paolo, progetto che sarà sostituito dal Decameron e finirà per rimanere irrealizzato. 
Lo vediamo percorrere la periferia di Roma e parlare dell'avvento del Nuovo Potere, della Chiesa, della componente autobiografica di Edipo Re. Nel film vengono anche intervistati Alberto Moravia, Sergio Citti, Franco Citti, Ninetto Davoli e Cesare Zavattini. Anteprima italiana, in versione originale con sottotitoli in italiano.
introduce Roberto Chiesi

Trascrizione dell’intervento di Pasolini in inglese

Power has two ways of bringing racist hatred against the poor. The first point: leave them poor and a poor person comes to be hated. Make them policemen and they're accused of being killers. The moment a poor person becomes a killer he's open to racist hatred. This is horrible, we shouldn't experience this. I am obviously against the police. It's the arm upon which every power structure is built. And the power structure always tends towards the Right. I do, however, refuse to share in any type of racial hatred. 
I had a strong love for my father until the age of three. The fundamental task I set myself is that of being rigorously disciplined. By this I mean, rigorously disciplined as the intellectual, I was decidedly a Marxist straight after the war. I had to defend myself against an excess and clarity, against an excess of familiarity and, almost, banality. 
My problem is an artistic one, a formal one, and art, as you very well know, is never clear. My films are the works of an author with very singular individual characteristics. 
I've never talked about the importance of the family, I'm against the family, the family is an archaic Remnant. During my childhood I had certain conflicts with my family whose background was definitely middle-class. My father represented the worst element I could imagine. It's rather difficult to talk about my relationship with my father and mother because I know something about psychoanalysis. What I can say is that I have great love for my mother. My origins  are  fairly typical of petty bourgeois, Italian society. I'm a product of unity of Italy as a Republic. I've never wanted to make a conclusive statement. I've always posed various problems and left them open to consideration. 
I've stated various times that "Oedipus Rex" is an autobiography: my father who was an officer and my mother was more or less the woman played by Silvana Mangano. I live the Oedipus complex in a kind of laboratory fashion, in an almost elementary and schematic way. 
When I make a film I'm always in reality, among the trees and among the people; there's no symbolic or conventional filter between me and reality as there's in literature. The cinema is an explosion of my love for reality. I have never conceived of making a film that would be a work of a group, I've always thought of a film as a work of an author, not only the script and the direction but the choices of sets and locations, the characters, even the clothes. I choose everything, not to mention the music. 
I've never been religious unless you can count a very ridiculous religious crisis at fourteen years of age, I was still very innocent. Then from one day to the next, I didn't believe anymore. I was born Catholic by mere chance because I was born in Italy, but I was never particularly Catholic and I came to my criticism of the Church as every Italian intellectual has. I had a very agnostic upbringing; this led me to Marxism so therefore I arrived at it in the most obvious and natural way. The Church in Italy has always been an instrument of power but I don't think it's an ideological power as opposed to its practical power, as any influence over the Italian peasant. An Italian's not religious. I don't want to say pagan because that would be generic but he's pre-Catholic in as much as he's remained in the state in which Catholicism found him, above all, in the South. It is a superficial cross over the Italian people and I believe it would only take a strong confrontation to destroy these ideals. 
I think that the Gospel is one of the many books of religious propaganda that had been written. There will come a time when the Gospel will be linguistically incomprehensible to humanity. The Gospel is tied to time and its historic place. The Church can only survive if it continues to change and put into continual crisis its own institutionality. I'm now preparing a film on Saint Paul. In the film we bring into question not the validity of the Church but its mere motive of existence. 
The Church will probably be able to continue for centuries to come if it creates an ecclesiastic assembly that continually negates and re-creates itself. My criticism is against the Church as power as it is today. I said that when I was a boy I believed, I prayed... but it wasn't anything very serious. I think there're some facets in my character that have something of a mystifying quality. I'd say this is a part of the trauma that dominates my existence. Nature doesn't seem natural to me, it is a sort of an act between me and the naturalness of nature. Philosophically, nothing that I have ever done has been more fitted to me than "Gospel According to St. Matthew" because of my tendency always to see something sacred, mythical and epic quality in everything, even in the most simple and banal objects and events. 
The working class belongs to the modern world, it belongs to our time, our history. Here in Italy the policemen for the most part are poor boys who come from very poor families in the South. I hope that the union confrontations and the student movement will bring us new advances in the people's movement and in revolutionary movement. The idea of Marxism being rational is true when it's a science but the moment Marxism is an action or revolution, it ceases to be rational. The moment a Marxist goes into action, purely pragmatic elements or purely revolutionary sentiments existed contains something of a religious or mystical nature.