The Gospel According to St Matthew (1964)
(Il vangelo seccondo Matteo)
Country: IT/FR
Technical: bw 142m
Director: Pier Paolo Pasolini
Cast: Enrique Irazoqui, Susanna Pasolini, Mario Socrate
Synopsis:
A filming of the gospel with non-professional actors and documentary realism, albeit with religious musical backing.
Review:
The director brings his poet's eye for common detail and political commitment to bear, having Christ deliver his preaching with uncompromising bluntness and juxtaposing his depraved bureaucrat types with the more honestly sordid deserving poor. The film contrasts perfectly with the Hollywood approach in its primitive simplicity and absence of hype, besides its Communist undertones, and the adherence to one gospel gives it an almost literary feel, with Pasolini's shooting style remarkably suited to the paratactic blocks of biblical text, with cuts frequently coinciding with verse divisions.
(Il vangelo seccondo Matteo)
Country: IT/FR
Technical: bw 142m
Director: Pier Paolo Pasolini
Cast: Enrique Irazoqui, Susanna Pasolini, Mario Socrate
Synopsis:
A filming of the gospel with non-professional actors and documentary realism, albeit with religious musical backing.
Review:
The director brings his poet's eye for common detail and political commitment to bear, having Christ deliver his preaching with uncompromising bluntness and juxtaposing his depraved bureaucrat types with the more honestly sordid deserving poor. The film contrasts perfectly with the Hollywood approach in its primitive simplicity and absence of hype, besides its Communist undertones, and the adherence to one gospel gives it an almost literary feel, with Pasolini's shooting style remarkably suited to the paratactic blocks of biblical text, with cuts frequently coinciding with verse divisions.
(Il vangelo seccondo Matteo)
Country: IT/FR
Technical: bw 142m
Director: Pier Paolo Pasolini
Cast: Enrique Irazoqui, Susanna Pasolini, Mario Socrate
Synopsis:
A filming of the gospel with non-professional actors and documentary realism, albeit with religious musical backing.
Review:
The director brings his poet's eye for common detail and political commitment to bear, having Christ deliver his preaching with uncompromising bluntness and juxtaposing his depraved bureaucrat types with the more honestly sordid deserving poor. The film contrasts perfectly with the Hollywood approach in its primitive simplicity and absence of hype, besides its Communist undertones, and the adherence to one gospel gives it an almost literary feel, with Pasolini's shooting style remarkably suited to the paratactic blocks of biblical text, with cuts frequently coinciding with verse divisions.