The Hawks and the Sparrows (Uccellacci e uccellini)
Video-clip 45 sec. Italian version -
|Photo Gallery "The Hawks and the Sparrows"|
|[clicca sulle anteprime per ingrandire]|
"The Hawks and the Sparrows" 1966 of Pier Paolo Pasolini. Director Pier Paolo Pasolini. Subject and screenplay by Pasolini Starring: Totò (Totò Innocenti e fra' Ciccillo), Ninetto Davoli, Femi Benussi, Umberto Bevilacqua, Renato Capogna, Rossana Ghirò, Alfredo Leggi, Flaminia Siciliano. Production Bini for Arcofilm.
Plot: A father and a son (Ninetto and Toto') in their surreal innocence walk without a precise destination, talking to each other a thousand things and being astonished by nothing, even when they encounter a talking crow that claims to be the son of the doubt and consciousness. The crow tells them the story of Friar Ciccillo and Friar Ninetto who preached to the birds, trying to convert them to evangelical hawks. In vain. The hawks, according to their intuition, devour the sparrows and perplexities of Friar Ciccillo. Saint Francis invites you to start all over again. Returning to be themselves, father and son, behave from time to time by hawks and sparrows, continuing their journey without destination. At the end they will kill the crow for being annoying, with its air knowing everything and they will eat the crow.
Review: Pier Paolo Pasolini, Italian Masterpieces, The Ark publishing company "Unity", in May 1995. I never "give birth" to a film so disarmed, fragile and delicate as Uccellacci e uccellini, (Hawks & Sparrows) not only does not resemble any of my earlier films, but is not similar to any other film. I am not speaking of his originality, it would be foolishly presumptuous, but its formula, which is the fable with its hidden meaning. The surrealism of my film has little to do with historical surrealism is basically the surrealism of tales.
This movie wanted to be conceived and executed lightly, under the sign
of Pardon Air "Magic Flute" is actually due to a state of profound
melancholy mood, so I could not believe the reality of the comic.
I wrote the script
taking a crow Marxist, but not quite yet freed from anarchist crow,
independent, sweet and true. At this point, the crow has become
autobiographical, a kind of irregular metaphor for the author.
Totò and Ninetto instead represent innocent Italians who are around us,
who are not involved in the story, who are acquiring the first jota of
conscience: this encounter when Marxism in the appearance of a crow.
The presence of Toto and Ninetto in this film is the fruit of a precise
choice motivated by precise position in the relationship between
character and actor.
I have always maintained that, I love to make films with non-professional actors, character, faces, and personalities, how they are in reality. I don't ever choose an actor for his skill as an actor, but for what he is, I chose Totò for what he is. I wanted a very human character, Neapolitan and friendly, so is immediately identifiable, at the same time I wanted this to be an average human being, "good person" also had something absurd, surreal, clownish, and I think that Totò happily have these elements.