Pier Paolo Pasolini

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knives
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Re: Pier Paolo Pasolini

#26 Post by knives » Sat Oct 01, 2011 1:14 am

Murdoch wrote:I didn't see this mentioned anywhere: Medea is getting a blu release in December
Is the company trustworthy?

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Murdoch
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Re: Pier Paolo Pasolini

#27 Post by Murdoch » Sat Oct 01, 2011 6:14 pm

The only thing I know about the company is that they're also handling the One Eyed Jacks blu. I've no idea of the quality of their stuff, but it will be nice to have an in print version of Medea stateside, as long as the quality isn't shit.

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zedz
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Re: Pier Paolo Pasolini

#28 Post by zedz » Sun Oct 02, 2011 2:42 pm

If it's the same source as the Raro DVD, it'll be a stunner. But the fact that they're also dealing with a notorious PD title like One Eyed Jacks gives me pause, and I'm also wondering why Raro's new US arm isn't handling the title.

Hail_Cesar
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Re: Pier Paolo Pasolini

#29 Post by Hail_Cesar » Fri Dec 09, 2011 12:36 am

Its funny, the old R1 dvd cover of accattone got his title mispelled as Accatone...

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rohmerin
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Re: Pier Paolo Pasolini

#30 Post by rohmerin » Sun Jan 22, 2012 9:27 am

Pasolini had a strong supporting role in Carlo Lizzani's WWII film Il gobbo (The hunchback).

Pictures from his role I made in my blog

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Re: Pier Paolo Pasolini

#31 Post by JPJ » Sun Jan 22, 2012 11:40 am

He chose interesting roles, a pimp in Il gobbo and a priest in Lizzani's spaghetti western Kill and Pray.

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Re: Pier Paolo Pasolini

#32 Post by accatone » Mon Oct 29, 2012 4:55 am

Short film with English subtitles - very interesting.

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Re: Pier Paolo Pasolini

#33 Post by jbeall » Thu Dec 27, 2012 10:58 am


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ShellOilJunior
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Re: Pier Paolo Pasolini

#34 Post by ShellOilJunior » Mon Sep 16, 2013 10:36 am

This is an interesting selection from John Ewing, Director of Cleveland Cinematheque, which details the licensing of Pasolini's films:
In my 27+ years of programming movies for both the Cinematheque and the Cleveland Museum of Art, I feel that I have presented film series devoted to most of the world’s great filmmakers—or at least the major non-American ones. Nevertheless there are still important directors whose careers remain unexplored in a series at either of my venues. Mostly these are individuals whose major movies are unavailable in the U.S., so would have to be imported (at great expense) from overseas.

Well, I’m happy to report that one of these elusive auteurs, Italy’s late film poet Pier Paolo Pasolini, will soon have his moment in the Cinematheque sun. In January and February we are scheduled to present 13 features and three short works from a complete Pasolini retrospective that is now touring North America under the auspices of the Istituto Luce Cinecittà—the same Italian agency that provided the print of Fellini’s The Voice of the Moon that we screened in July.

Luce Cinecittà seems to be a new name for Cinecittà International, which organized and circulated the complete Antonioni retrospective we presented in 2000, as well as the 15-film Totò series we showed in 2001. It’s great to be working with them again after a hiatus of many years. Luce Cinecittà promotes Italian cinema by assembling comprehensive packages of great movies and then shipping them around the world. They prepare beautiful new 35mm prints for these traveling retrospectives and maintain a library of high-quality film copies of Italian classics. It is always a pleasure to see these superb prints projected on the big screen.

So I am pumped about our upcoming Pasolini retrospective. Everything we will show (with one exception) will be presented in a new 35mm print from Italy. The series has already played the Museum of Modern Art in New York and the National Film Theatre in London. Other U.S. cities hosting the show are Los Angeles, San Francisco/Berkeley, Houston, Washington, and Columbus.

But here’s the bad news. Though Luce Cinecittà provides gorgeous copies of films to show, they do not own the rights to the movies they circulate. Thus every screening must be licensed from the foreign or domestic distributor who owns the rights to the title in the country that is presenting it.

For the Pasolini series we have had to license our upcoming screenings from a total of six different companies—three in the U.S., three in Italy. The U.S. companies have been pretty easy to deal with. They know us and our capabilities, so they have asked for reasonable, mostly affordable rental fees. The Italian companies, on the other hand, have quoted screening fees that are much higher than those of their American counterparts. Although one of the Italian companies did negotiate and lower its prices a bit (and, really, why should Cleveland pay the same fee as New York City for one screening of a movie?), the other two haven’t budged on their fees, adopting a take-it-or-leave-it stance.

Because of this inflexibility, my enthusiasm for our upcoming Pasolini retrospective has dimmed. The exorbitantly high screening fees from these two holdouts have compelled me to remove their two titles from our upcoming Pasolini exhibition. And they were two of the movies I was most excited to be able to present. Both are modern-day color fables made during the late 1960s: Pigsty (Porcile, 1969) a satire starring Pierre Clémenti, Jean-Pierre Léaud, Anne Wiazemsky (of Bresson’s Au Hasard Balthazar), and Ugo Tognazzi; and Theorem (Teorema, 1968), one of Pasolini’s key works, a parable about a mysterious stranger (Terence Stamp) who seduces every member of a wealthy Italian family and then departs, leaving chaos in his wake.

The Italian rights holder to Pigsty wants 550 euros (approximately $725) and the Italian rights holder to Theorem wants 1000 euros (around $1335). In both cases, this is for one screening of a film print that these two companies are not even supplying! These prices are three to five times what we normally pay for classic movies, and we can show those two times. In fact, the Theorem price is the highest rental fee I have ever encountered in my 27 years of running the Cinematheque.

Showing Pigsty in Cleveland may just be a matter of holding my nose, biting the bullet, and upping my usual ante—all for art’s sake (and with the hope that some other Pasolini movie will do well enough to cover the losses on this one—doubtful given the high cost of the whole series). But with Theorem, even if I had the money, should I pay what is in essence an extortionist fee? It would be a bad, bad precedent—especially since the rights holder (who is a TV executive and probably a multi-millionaire) has already refused a collective offer from five of the American Pasolini presenters (including us)—2000 euros for one screening of the film in five different cities. We thought he would accept this not insignificant amount rather than get nothing. But he chose nothing. So all five of us have dropped Theorem from our retrospectives. Even Luce Cinecittà appealed to him to work with us and negotiate an affordable fee (“we hope that a mere question of money will not interfere with the cultural value of Teorema, that is an essential part of Pasolini’s vision”), mentioning the support the retrospective received from the Italian Ministry of Culture. He turned a deaf ear to their request as well.

So at present this story does not have a happy ending. But I guess we should be grateful for the 11 Pasolini features that we have secured, and the beautiful prints in which they will be seen. This tale also illustrates what we sometimes have to go through to bring great cinema to Cleveland, and maybe explains why my hair is so gray.

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Re: Pier Paolo Pasolini

#35 Post by zedz » Mon Sep 16, 2013 4:54 pm

This is unfortunately an all too common situation, and there are a lot of great films that would be much more widely screened and better known if rightsholders / sales agents were less recalcitrant.

I was involved in a similar situation in the 1990s with a 'Cahiers du cinema' programme. A bunch of beautiful, fresh 35mm prints touring as a group, but for which the rights had to be individually negotiated. Some rightsholders were very fair and straightforward to deal with; one even let us show their film for free; some demanded extortionate fees (in the worst case a flat fee that would have amounted to nearly $10 a head even if we had somehow managed to attract a capacity audience - and this was for the film in the programme with by far the lowest international profile); one never returned calls until we finally got hold of them two days before the screening. It was an organizational nightmare, and made the programme practically impossible to market efficiently. In the end the worst offender had to be removed from the programme at the very last minute.

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ShellOilJunior
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Re: Pier Paolo Pasolini

#36 Post by ShellOilJunior » Fri Jan 03, 2014 8:22 am

The good news is the Cleveland Cinematheque cut a deal with the distributors. It's going to mean $3 more per ticket but better than not screening them at all. This is the series slated to begin 1/11. I've heard many of these films will be in Toronto soon after:

Accattone
Mamma Roma
The Gospel According to St.Matthew
The Hawk and the Sparrows
Teorema
Oedipus Rex
Pigsty
Medea
Notes for an African Orestes
The Decameron
La Ricotta
The Witches
Canterbury Tales
Salo
Arabian Nights

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Re: Pier Paolo Pasolini

#37 Post by accatone » Thu Sep 11, 2014 5:05 am

A fantastique chronological trip through Roma, its places and people. Just click the bottom timeline to move ahead.

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Toby Dammit
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Re: Pier Paolo Pasolini

#38 Post by Toby Dammit » Mon Jan 15, 2018 10:48 am

It's time for an update of the editions available on BluRay
I think most of it has been edited in the Uk / Region B

1.- Accattone: Masters of Cinema, 2012

2.- Mamma Roma: Criterion 2004

3.- La Ricotta (segment of RoGoPaG) Masters of Cinema, 2012

4.- The Gospel According to St.Matthew: Masters of Cinema, 2012

5.-The Hawk and the Sparrows: Dvd only. Masters of Cinema 2012

6.- The Earth seen from the Moon (segment from The Witches): Arrow Academy, 2017

7. -Oedipus Rex: Masters of Cinema, 2012

8.- Teorema: BF1; 2013

9.- Pigsty: Dvd only. Masters of Cinema 2012

10.- Medea: BFI, 2011

11.-The Decameron/Canterbury Tales/Arabian Nights: BFI, 2011 ; Criterion, 2012

12.- Salo: BFI, 2011; Criterion, 2012

Missing BluRays titles for Region "A": Accattone, The Gospel According to St.Matthew, Teorema

Missing BluRay edition in both sides of the Atlantic: Mamma Roma, The Hawk and the Sparrows, Pigsty
Last edited by Toby Dammit on Mon Jan 15, 2018 12:39 pm, edited 1 time in total.

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antnield
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Re: Pier Paolo Pasolini

#39 Post by antnield » Mon Jan 15, 2018 10:54 am

Toby Dammit wrote:Missing BluRay edition in both sides of the Atlantic: Mamma Roma, The Hawk and the Sparrows, Pigsty
Eureka released Hawks and Sparrows and Pigsty on a single limited-edition Blu.

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Re: Pier Paolo Pasolini

#40 Post by sky » Mon Jan 15, 2018 10:58 am

Both "Hawks and Sparrows/Pigsty" are part of Masters of Cinema released on a dual-layered blu-ray - https://www.eurekavideo.co.uk/moc/hawks ... ows-pigsty" onclick="window.open(this.href);return false; They just didnt get a separate release/two in one case. Region B locked.

http://www.dvdbeaver.com/film5/blu-ray_ ... lu-ray.htm" onclick="window.open(this.href);return false;
http://www.dvdbeaver.com/film5/blu-ray_ ... lu-ray.htm" onclick="window.open(this.href);return false;

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Toby Dammit
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Re: Pier Paolo Pasolini

#41 Post by Toby Dammit » Mon Jan 15, 2018 11:07 am

antnield wrote:
Toby Dammit wrote:Missing BluRay edition in both sides of the Atlantic: Mamma Roma, The Hawk and the Sparrows, Pigsty
Eureka released Hawks and Sparrows and Pigsty on a single limited-edition Blu.
Oh! thanks!
is unavailable now, I suppose

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Re: Pier Paolo Pasolini

#42 Post by Pepsi » Mon Jan 15, 2018 11:11 am

Notes for an African Orestes
This is as an extra material on BFI The Decameron, in 1080i.

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Re: Pier Paolo Pasolini

#43 Post by Pepsi » Mon Jan 15, 2018 11:15 am

Eureka released Hawks and Sparrows and Pigsty on a single limited-edition Blu.
Oh! thanks!
is unavailable now, I suppose
13,99£ in Eureka shop, and 12,99£
Amazon.uk, and 9,53£ Amazon.uk/marketplace.

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Toby Dammit
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Re: Pier Paolo Pasolini

#44 Post by Toby Dammit » Mon Jan 15, 2018 11:36 am

Pepsi wrote:
Notes for an African Orestes
This is as an extra material on BFI The Decameron, in 1080i.
Thanks! i forgot other Pasolini documentaries

Sopralluoghi in Palestina [Scouting in Palestine] is included in The Gospel According to St.Matthew

Is Appunti per un film sull'India [Notes for a Film in India] included in any recent BluRay edition?

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swo17
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Re: Pier Paolo Pasolini

#45 Post by swo17 » Mon Jan 15, 2018 11:47 am

It isn't. See also my guide to his '60s films. Also, MoC never released Mamma Roma.

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Toby Dammit
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Re: Pier Paolo Pasolini

#46 Post by Toby Dammit » Mon Jan 15, 2018 12:46 pm

swo17 wrote:It isn't. See also my guide to his '60s films. Also, MoC never released Mamma Roma.
You're right. Original post corrected

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Re: Pier Paolo Pasolini

#47 Post by JSC » Mon Jan 15, 2018 3:12 pm

Just to add a few more odds and ends.

Pasolini's 1969 short film La sequenza del fiore di carta, was his
contribution to the portmanteau film Love and Anger. I think it was
released on DVD by the now defunct label NoShame but never made a
transition to blu-ray.

Also La Rabbia his 1963 documentary collaboration with Giovannino
Guareschi was released by Raro Video on DVD, but still no blu-ray.

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Re: Pier Paolo Pasolini

#48 Post by domino harvey » Thu Jul 05, 2018 5:45 pm

From Reddit:

Image

"In 1973 Pier Paolo Pasolini saw the film THE GODFATHER in this cinema without paying for his ticket"

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