La ricotta (1963)
(Ro.Go.Pa.G. (segment))
Country: IT/FR
Technical: bw/col 35m
Director: Pier Paolo Pasolini
Cast: Orson Welles, Laura Betti, Mario Cipriani
Synopsis:
An extra playing the good thief in a new film about the Passion is desperate for food but must do his scene first. The director pronounces commandments and is parroted by each section of the crew's hierarchy.
Review:
Pasolini makes more explicit the political critique of his Gospel According to St Matthew, but brings into frame the pretensions of the artist, indifference of the cast and fawning of the press in a way that recalls/parodies Fellini. Under-cranked sequences of physical comedy look ahead to the Chaplin sequence in The Canterbury Tales, but this is desultory fare typical of the decade's penchant for portmanteaux and notable only for Welles's roguish turn as the director quoting from Mama Roma.
(Ro.Go.Pa.G. (segment))
Country: IT/FR
Technical: bw/col 35m
Director: Pier Paolo Pasolini
Cast: Orson Welles, Laura Betti, Mario Cipriani
Synopsis:
An extra playing the good thief in a new film about the Passion is desperate for food but must do his scene first. The director pronounces commandments and is parroted by each section of the crew's hierarchy.
Review:
Pasolini makes more explicit the political critique of his Gospel According to St Matthew, but brings into frame the pretensions of the artist, indifference of the cast and fawning of the press in a way that recalls/parodies Fellini. Under-cranked sequences of physical comedy look ahead to the Chaplin sequence in The Canterbury Tales, but this is desultory fare typical of the decade's penchant for portmanteaux and notable only for Welles's roguish turn as the director quoting from Mama Roma.
(Ro.Go.Pa.G. (segment))
Country: IT/FR
Technical: bw/col 35m
Director: Pier Paolo Pasolini
Cast: Orson Welles, Laura Betti, Mario Cipriani
Synopsis:
An extra playing the good thief in a new film about the Passion is desperate for food but must do his scene first. The director pronounces commandments and is parroted by each section of the crew's hierarchy.
Review:
Pasolini makes more explicit the political critique of his Gospel According to St Matthew, but brings into frame the pretensions of the artist, indifference of the cast and fawning of the press in a way that recalls/parodies Fellini. Under-cranked sequences of physical comedy look ahead to the Chaplin sequence in The Canterbury Tales, but this is desultory fare typical of the decade's penchant for portmanteaux and notable only for Welles's roguish turn as the director quoting from Mama Roma.