{"id":98118,"date":"2024-06-28T15:02:44","date_gmt":"2024-06-28T22:02:44","guid":{"rendered":"https:\/\/filmfanatic.org\/?p=98118"},"modified":"2024-06-29T08:13:09","modified_gmt":"2024-06-29T15:13:09","slug":"pigpen-1969","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=98118","title":{"rendered":"Pigpen (1969)"},"content":{"rendered":"<p><strong>&#8220;I killed my father, I ate human flesh and I quiver with joy.&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Poster.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Poster-208x300.png\" alt=\"\" width=\"208\" height=\"300\" class=\"alignleft size-medium wp-image-98119\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Poster-208x300.png 208w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Poster-89x128.png 89w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Poster-187x270.png 187w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Poster.png 648w\" sizes=\"auto, (max-width: 208px) 100vw, 208px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nIn primitive times, a cannibal (Pierre Clementi) on the slopes of Etna wanders around killing animals and people; meanwhile, the son (Jean-Pierre Leaud) of a post-WWII German industrialist (Alberto Lionello) neglects his politically radicalized girlfriend (Anne Wiazemsky) to go lie with the pigs.\n<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\n<strong>Genres, Themes, Actors, and Directors:<\/strong><\/p>\n<ul>\n<li>Cannibalism <\/li>\n<li>Italian Films<\/li>\n<li>Jean-Pierre Leaud Films<\/li>\n<li>Pier Paolo Pasolini Films<\/li>\n<\/ul>\n<p><strong>Review: <\/strong><br \/>\nPier Paolo Pasolini&#8217;s follow-up to <a href=\"https:\/\/filmfanatic.org\/?p=12546\"><em>Teorema<\/em> (1968)<\/a> was this inscrutable mash-up of two different &#8220;stories&#8221; which only vaguely (possibly) relate to one another. As the movie opens, we see a man (Clementi) in a barren landscape killing a snake to eat: <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Snake.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Snake-1024x552.png\" alt=\"\" width=\"640\" height=\"345\" class=\"alignnone size-large wp-image-98143\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Snake-1024x552.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Snake-300x162.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Snake-128x69.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Snake-768x414.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Snake-501x270.png 501w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Snake.png 1284w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>&#8230; and then the scene suddenly shifts to a modern, urban, upper-class setting, as a quibbling young couple deliberates in front of the man&#8217;s parents (Alberto Lionello and Margarita Lozano). <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Quartet.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Quartet-1024x548.png\" alt=\"\" width=\"640\" height=\"343\" class=\"alignnone size-large wp-image-98144\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Quartet-1024x548.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Quartet-300x160.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Quartet-128x68.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Quartet-768x411.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Quartet-505x270.png 505w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Quartet.png 1298w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>The fact that Lionello has a Hitler-esque mustache seems fully intentional; indeed, as he engages in later conversations with the other main player in the film, Mr. Herdhitze (Ugo Tognazzi) (his &#8220;mysterious rival&#8221;): <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Herdhitze.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Herdhitze-1024x550.png\" alt=\"\" width=\"640\" height=\"344\" class=\"alignnone size-large wp-image-98145\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Herdhitze-1024x550.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Herdhitze-300x161.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Herdhitze-128x69.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Herdhitze-768x413.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Herdhitze-503x270.png 503w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Herdhitze.png 1303w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>&#8230; we learn a little more about his political views. The story continues to toggle back and forth between the two settings and sets of characters, with no explicit rhyme or reason &#8212; and the opaque dialogue doesn&#8217;t help matters whatsoever. Take this interaction between Leaud (Julian) and Wiazemsky (Ida), for instance: <\/p>\n<blockquote><p><strong>Julian:<\/strong> Even if you were to betray not just those of your generation, but yourself and the truth, you&#8217;ll never find out what I&#8217;m going to do.<br \/>\n<strong>Ida:<\/strong> What right do you have not to tell me?<br \/>\n<strong>Julian:<\/strong> It&#8217;s just my right, that&#8217;s all.<br \/>\n<strong>Ida:<\/strong> What good will it do you?<br \/>\n<strong>Julian:<\/strong> If anything, to make you cry and suffer. Tra-la-la.<br \/>\n<strong>Ida:<\/strong> And without fail I&#8217;ll cry and suffer. Tra-la-la.<br \/>\n<strong>Julian:<\/strong> Just little things: a wandering leaf, a creaky door, a grunt.<br \/>\n<strong>Ida:<\/strong> What do you mean, Julian?<\/p><\/blockquote>\n<p>Etc. Oh boy. It really never gets better or clearer. With that said, <a href=\"https:\/\/www.timeout.com\/movies\/pigsty\">Time Out&#8217;s reviewer<\/a> refers to this film as &#8220;not only an exquisitely revolting satire,&#8221; but &#8220;also Pasolini&#8217;s most fascinating piece of cinema.&#8221; &#8212; so, to each their own. <\/p>\n<p>In terms of what it&#8217;s actually about &#8211;well, <a href=\"https:\/\/en.wikipedia.org\/wiki\/Pigsty_(film)\">Wikipedia claims<\/a>: &#8220;The story is about the human capacity of destruction and a rebellion against the social prerequisites implied against it.&#8221; OK. Meanwhile, <a href=\"https:\/\/www.criterion.com\/current\/posts\/8186-the-elegiac-heart-pier-paolo-pasolini-filmmaker\">in an essay written for Criterion about Pasolini more broadly<\/a>, James Quandt notes that enduring themes of his work include &#8220;the sacred purity of the dispossessed and the inevitability of their destruction.&#8221; My personal take-away is that this film is simply about the awful ways people treat one another, ranging from not-so-subtle critiques to outright cannibalism &#8212; be forewarned that it&#8217;s ugly stuff. <\/p>\n<p><strong>Notable Performances, Qualities, and Moments:<\/strong><\/p>\n<ul>\n<li>Tonino Delli Colli&#8217;s cinematography<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Bodies.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Bodies-1024x552.png\" alt=\"\" width=\"640\" height=\"345\" class=\"alignnone size-large wp-image-98142\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Bodies-1024x552.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Bodies-300x162.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Bodies-128x69.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Bodies-768x414.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Bodies-501x270.png 501w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2024\/06\/Porcile-Bodies.png 1294w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nNope. <\/p>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/www.imdb.com\/title\/tt0064828\/\">IMDb entry<\/a><\/li>\n<li><a href=\"https:\/\/news.google.com\/newspapers?id=zOwjAAAAIBAJ&#038;sjid=K4wDAAAAIBAJ&#038;pg=4546%2C3524858\">Village Voice Review<\/a><\/li>\n<li><a href=\"https:\/\/www.timeout.com\/movies\/pigsty\">Time Out Capsule Review<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;I killed my father, I ate human flesh and I quiver with joy.&#8221; Synopsis: In primitive times, a cannibal (Pierre Clementi) on the slopes of Etna wanders around killing animals and people; meanwhile, the son (Jean-Pierre Leaud) of a post-WWII German industrialist (Alberto Lionello) neglects his politically radicalized girlfriend (Anne Wiazemsky) to go lie with the pigs. Genres, Themes, Actors, and Directors: Cannibalism Italian Films Jean-Pierre Leaud Films Pier Paolo Pasolini Films Review: Pier Paolo Pasolini&#8217;s follow-up to Teorema (1968)&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=98118\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-98118","post","type-post","status-publish","format-standard","hentry","category-reviews"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/98118","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=98118"}],"version-history":[{"count":17,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/98118\/revisions"}],"predecessor-version":[{"id":98171,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/98118\/revisions\/98171"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=98118"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=98118"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=98118"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}