341

I truly love the cemetery dream sequence. It's too beautiful.

#363

im not a pasolini fan, other than teorema - so dont mind my rating

Pasolini's neutrality towards the characters here is refreshing: few of them are saints, but most of them have some redeeming qualities, and the viewer is invited to empathize without judging them. Though Accattone is kind of a lazy scumbag, we also feel how the environment of poverty, hunger and unemployment contributes to his status. The tone is somewhat neo-realist without the more tedious trappings of the genre, and manages to keep the situations and characters interesting throughout.

# 383

Interesting, pretty bleak portrait of a pimp's life. I had a hard time relating to the characters, though, so it doesn't quite live up to Pasolini's Mama Roma or, say, Fellini's Nights of Cabiria. Still worth seeing for its candidness and objective take on poverty and desperation.

While echoing neorealism Pasolini strips away the sentimentality and presents us with an unvarnished social study, characters we may be unable to sympathize with but who are understandable none the less.

348

Pasolini should really be known for more than Salo. In this, his first feature, he continues the neorealist aesthetic of his forebearers to some of its purest heights.

"Unsophisticated in a good way but betraying its influences this gritty crime piece is one for true fans of Italian realism"

"Pasolini succeeds in taking a small story anchored in the grim realities of post-war poverty and deprivation and giving it the sweep of operatic, even transcendent, emotion and spirituality."