Touches You

Absolutely Fantastic

It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

In "Uccellacci and Uccellini" we have truth, naturalness and authenticity so well incorporated and structured that it is hard to believe in the possibility of comedy in the face of such harsh realities and of a world where people use the hardness of their lives as materiality for laughter . A particular work in his proposal and among many reasons, a rare work.Written and directed in 1966 by Pier Paolo Pasolini, "Uccellacci and Uccellini" is one of those films that generate immediate division, there are no half terms. Particularly, I consider it as a special film, but that already shoots in ample start for my appreciation, for the respect and admiration that I feel for Italy, for its history in the cinema and by diverse actors, among them Totò Innocenti."Uccellacci e Uccellini" has all the key characteristics of the Neorealist style, and deals with Marxist concerns about poverty and class conflict, but without losing his humor, which, by the way, generates great power and importance of this work, Uniting political reflections, social construction and having as a midfield, humor, Pasolini achieves a comprehensive and active dialogue, places the viewer in a critical and reflective situation, delivers a work open to laughter, but not limited to that. To overcome the limits of a common or simplistic comedy, it was, but of what it necessary to count on the support of the Italian actor Totò Innocenti.This was Totò Innocenti's last film. After the death of the actor, two other films were released, but in both productions, the filming took place long before "Uccellacci and Uccellini". Totò in 1966 was already more than a consecrated comedian, his figure was a mark and renowned of Italy, having the recognition of his work expanded to other countries and continents, it is not for nothing that he is part of a select group where the actors are present Charlie Chaplin and Buster Keaton. We can see in Uccellacci and Uccellini a more restrained Totò, which generates a certain strangeness for those who already know it of previous works, much of this half disengaged, sometimes even plastered originate from the direction of Pasolini, who limited the improvisations, The game and even the face masks of the actor, requests that denied the characteristics that made Totò a celebrated comedian. It is necessary to understand that the requests of Pasolini were not ways to cut or to diminish the work of Totò, on the contrary, knowing the artistic quality of the comedian, Pasolini sought to present a punctual work and that dialogued with the neorealistas proposal of the film, besides being a Great opportunity that Pasolini offers to the great Totò.In "Uccellacci and Uccellini" we have truth, naturalness and authenticity so well incorporated and structured that it is hard to believe in the possibility of comedy in the face of such harsh realities and of a world where people use the hardness of their lives as materiality for laughter . A particular work in his proposal and among many reasons, a rare work. The allegory created by Pasolini, unifies aspects of Marxist philosophical fable.As in all fairy tales, there is a definite story in this film: the narrative pretext is given by the philosophical (Marxist) considerations of an old raven that approaches two men, father (Totò) and his son (Davoli). The crow seems to convince the two men, using his wisdom and his words, but the moment the problem of hunger appears, the "reasonable" man reveals himself, and Totò ends up eating the wise crow. The allegory presented is clear and well performed.Regarding the neo-realist considerations presented in the film, I can categorize them through André Bazin, a French cinema theorist and critic, arguing that neorealism portrays: truth, naturalness, authenticity and is a cinema of duration. The necessary characteristics of neo-realist cinema include: A defined social context; A sense of historical reality and immediacy; Political commitment to progressive social change; Authentic scenes and scenery with its location, as opposed to the artificial studio; A rejection of classic Hollywood styles; Extensive use of non-professional actors as much as possible; A documentary style of cinematography."Uccellacci and Uccellini" is reportedly the work that Pier Paolo Pasolini most loved, probably because it is the most complete synthesis of his artistic eclecticism. It is a work with great poetic power, from the beginning was the object of discussion and controversy. He got a special mention at the Cannes Film Festival and was awarded the silver prize.

"Where goes humanity?" - "I don't know!" Maybe it's a comedy, but I don't think anyone is 100% sure what kind of a film this really is. It's not really comedic, because behind all those absurdities and silliness there lies a seriously political and religious concern, a bittersweet desire and infallible disappointment. Maybe we should take the film as what it is, as one-of-a-kind, a cinematic high jump which gives rise to all sorts of speculation and conjectures without knowing where to start and where it ends.Not only the viewer is left unsure, the protagonists are, too. They embody the condition of the film's unsureness perfectly, as well as the nature of one of the most unique works of Italian cinema, which is also the most variant and formally abstract film project of Pasolini: A weird story, a picaresque tale which mixes metaphors and cinematic references (from Keaton's statics to Chaplin's poesy of the dusty road to Fellini's clowns to Rossellini's monks); a philosophic apology which depicts the end of ideologies, the crisis of Marxism on the background of the clash of rulers and subjects (hawks and sparrows) and the unfortunate encounter of those who have the blessing of knowledge (the wise raven) and those who outlive themselves without the awareness of being part of this world: Totò and Ninetto, father and son. Both are walking the eternal road of a universe which is merciless, discuss pretentious things and express themselves with the help of their basic instincts: physical needs, but also the hate towards inferiors and subservience to superiors. On their way, they encounter the mystery of life and death (birth of a child, a family that kills themselves with gas, a funeral), as well as the mortal fear of those who starve. Until the raven appears, decides to go along with them and overwhelms them with needless wisdoms.It's great to see Totò in here, a masterful actor who often was criminally misused in abysmal Italian entertainment movies and shows here the wide range of his talent. The interaction with the young, intuitive Ninetto Davoli is probably the biggest joy in this film.

A picaresque approach by a master of the Italian cinema resulted in this personal and different film by Pier Paolo Pasolini. The director, who wrote and produced this picture, was in great form in this story that is more like a fable, deliciously acted by Toto and Ninetto Davoli, one of the best pairings in Pasolini's movies.The film is, in many aspects, a road movie. From the beginning, we watch as Toto and Ninetto take to the road in their trip to nowhere, it seems, but a trip which permits Pasolini examine some of the things that obsessed him, mainly his dislike for organized religion, as he perceived it in his country, as it clashed with reality. He takes the life of Saint Francis and the story about his relationship with the birds as the main topic for the movie.It's hard to add anything else to what already has been said by the valuable contributions to IMDb. This film is one of the most inspired by the director. In it, he doesn't pound on the viewer's head those things that were dear to him. In fact, the film has a whimsical touch as we follow the two travelers, Toto and Ninetto, through rural Italy as a raven keeps telling them stories.Toto is perfect as the older man who is living in his own world and doesn't see the changes around him. Ninetto Davoli gives a great performance as the happy go lucky son. Their surname, is Innocenti, or Innocent, which in a way, fits their characters rather well.The black and white cinematography by Mario Bernardo and Tonino Delli Colli works wonders for the film. Ennio Morricone's musical score also enhances all that one sees on the screen. This is a light Passolini, but one that delves deep into the subjects that were so dear to the director's heart.

Confusing but fascinating motion picture about the experiences of a father and son. A Felliniesque story with the two main characters experiencing anything strange or surreal tht comes their way. Maybe influenced from the work Pasolini did with Fellini on Nights of Cabiria(1957) and La Dolce Vita(1960). Has many areas in it that is characteristic of a Federico Fellini film. Even the father reminds me of some characters from a Fellini picture. The direction is simple as well as subtle. Uccellacci E Uccellini/Hawks & Sparrows(1965) is Pasolini's lightest and most gentle picture of his filmography. Light years away from the controversial and nilistic sections of his later films. An uncharacteristic film for Pier Paolo Pasolini because of its cheerful and clownish nature. The comedy in Hawks and Sparrows(1965) is in the tradition of such silent greats as Chaplin, Keaton, and Lloyd. Complex film that probably should be seen more than once to attempt at getting a clear meaning of its allegoric nature. Hawks and Sparrows(1965) gets some good acting from the leads Toto and Ninetto Davoli. On casting people for Pasolini's film he remarked("I use both actors and non-actors, and I am not interested in their ability. I take them for what they are") with an interesting line. This quote from Pasolini is important in the casting of Hawks and Sparrows(1965) because of his personal perference of non actors over actors. The first film I have seen with the actor Toto. Ninetto Davoli does a decent job for a person who never acted before in his life. The rest of the actors are good in the segments they are in. The director liked using non actors because he wanted a natural and unconscious style that could not be possible with a pro actor. Pier Paolo Pasolini was one of the best and most rare type of movie makers to inhibit is cinema with mostly non actors. Each episode is funny and yet intellegent. Pasolini conveys the character of Toto as someone who is unaware of life around him. Filled with the usual political beliefs Pasolini was into. The opening credits are creative and very unusual. They are played over the screen in the form of a prose. I only wish that more films would use this kind of opening credits instead of the usual opening credits because its more interesting here. The director's intention was to make a film that was pure prose and in the tradition of Buster Keaton and Charles Chaplin. Hawks and Sparrows(1965) does retain the elements of the tragic comedy with the themes of class and poverty. Ennio Morricone plays one of his best film scores in a non Leone film. Pasolini and Morricone did some good work together as director and film composer. Shows how good Pasolini was at in using simple images to push forward a themematic idea. The bird that follows the father and son represents something that is the total opposite of the two. Visual poetry at its finest and and most beautiful. One scene that has recently resurfaced during the late 1980s was an unreleased episode called "Toto At The Circus".