Uccellacci e uccellinii is transparently Pasolini's vehicle for the pushing upon the innocent public of some indistinct boytoy he was infatuated with at the time. Notwithstanding the meanness of the impetuus, the film enjoys the best credits I've ever seen, anywhere -- a sung takeoff on the Commedia tradition, and rather better done than the average offering in that field. There's a few otherii such kernels in the soup, but... it's still the usual minestrone de mierda.
It could be said that it's slightly better than the shit coming out of Pasolini's shithead during the subsequent decade, yes. Nevertheless, it could equally be said that if they just kept him picking cotton all his life entirely nothing'd have been lost, and a few rolls of film'd have been saved. I think this is the more important moral of this sad misadventure : denying resources to idiots, victimizing socialists, oppressing the inferior is the only moral duty of man ; a duty which one should never shrink from, lest everything around turns to shit.
Go and do likewise, gents. Go and do likewise.———
- 1966, by Pier Paolo Pasolini, with Toto. [↩]
- Take as for instance the streets being named after nobodies, reversing the traditional trend (of naming streets after somebodies) in an exercise of deliberate and demonstrative histrionism that equally deliberately and equally demonstratively pretends to ludicity, as an implausible "plausible defense". Prove he ain't!!! And what do you mean, "the simple fact that we don't remember the nobodies' names he used dispells the whole socialist-idiotarian charade all by itself" ?! What do you mean "it turns out the fucking point of naming streets after notables is memotechnic, not some kind of opression, systematic-blabla etcetera" ?! Why should it be that notables are more likely to be remembered than bums ?! Why can't it be that reality couldn't be exactly backwards from how it is ?! Huo! Boh! Ingh! It is unfair that unfairness' unfair!!! [↩]