DATELINE: Last Days of Sodom?
Dafoe as Paso
Willem Dafoe tackles the infamous Italian director of the 1960s. Next to Fellini and Antonioni, Pier Paolo Pasolini is the darling of avant-garde cinema. His highly-charged political movies seemed to blame scandal and scandalizing on media and right-wingers.
The movie is Pasolini,about a man who was the ultimate socialist on film. His movies from 120 Days of Sodom to Teorema were puzzling allegories that combined sordid sex and overblown intelligentsia. He wanted to offend audiences with pictures likeThe Gospel According to Matthew and succeeded wildly.
So it is with Abel Ferrara’s version of the film-maker’s life. With multiple languages, and layers of story-telling, this is Cinema with a capital C.
Dafoe seems to be nearly as outrageous as Pasolini as he was as Nosferatu.
The film is blatant in its crossovers, using a fictional version of Pasolini in a “novel” he visualizes with his actual life. This technique spares your major star from doing embarrassing sex scenes.
Dead at a premature age, it seems even Dafoe might be a bit long in the tooth for the role, but Terence Stamp, another good choice who worked with Pasolini, was definitely too far along.
The film tries to extract the genius of a director out of the chaos of politics, anarchy, and religion, that made up post-war Italy. It remains chaos theory.
Pasolini was the victim of senseless gay bashing murder in Rome in 1975, though the movie is far less graphic than the real killing.