Matthew (1964) to the bawdy medieval tales in his Trilogy of Life (1971–1974). The outspoken and always political Pasolini’s films became increasingly scandalous-even, to some minds, blasphemous-from the gritty reimagining of the Christ story The Gospel According to St. Soon he was directing his first film, Accattone (1961), a tale of street crime whose style and content greatly influenced the debut feature of his friend Bernardo Bertolucci, La commare secca (1962), for which Pasolini also supplied the original story. ![]() He was a student of the written word, and among his earliest movie jobs was writing additional dialogue for Federico Fellini’s Nights of Cabiria (1957). ![]() What he is best known for, however, is undoubtedly his subversive body of film work. Pier Paolo Pasolini’s ability to simultaneously embrace conflicting philosophies-he was both a Catholic and a Marxist a modern-minded, openly gay man who looked to the distant past for inspiration and comfort a staunch leftist who at one point in the late sixties infamously spoke out against left-wing student protests (sympathizing instead with the working-class police)-was matched by the multifariousness of his professional life, as a filmmaker, poet, journalist, novelist, playwright, painter, actor, and all-around intellectual public figure.
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