The Hawks and the Sparrows

A kind of comic parable that seems to be saying that the days of the radical intellectual are at an end, or at least that this figure is in crisis, too disconnected from the rest of the people, in want of a critique making possible a transformation. The actors are great, but the story comes across as being a bit too thin, even if one imagines that, in the generally Marxist world of Italian cinema in the 1960s, it took some courage to make it (as the opening titles state, or rather, sing).

This might have just caught me in the wrong mood, but it did very little for me. The openings credits being sung was something I haven't seen before and was fun, but unfortunately after that I was more bored than anything. I just didn't find it very funny or interesting. I just don't get this one.

Absurd. Davoli and Toto work well as a comedic duo in a satire which positions you to form a point of view where you ask yourself certain questions about Marxism and Christianity, capitalism and God. I feel like there's so much more thematically to be explored with a proper analysis and re-watch. Overall it's a fun film with iconic scenes, yet it's also a bit all over the place. Morricone's soundtrack and intro/outro are simply perfect and they really set the tone right in the beginning. Bien.

Pasolini is so hit or miss for me. This one started well, with some decent jabs against a lot of sacred cows, even though it didn't feel like it was going to have a point. Then "Part Two" just felt like filler, ultimately making it a disappointing watch. I think I could watch a whole movie with just Toto's facial expressions. And maybe PPP was on to something: more movies need to have their opening credits sung.

(Viewed on 1/06/13): Supposedly Pasolini didn't intend to make a 'real' comedy, which is just odd given the casting of Toto and the sheer amount of slapstick gags. But Pasolini was a contrarian and a bit of a weirdo, so it's probably best to disregard his words and appreciate it for what it is: a daring digression from the norm that merges Fellini, Chaplin, Keaton and Marx into one wildly irreverent whole. Not all of the scenes work, but Toto and Davoli's exuberance makes it worthwhile.

Amusing and absurd all the way.

A dead serious comedy on politics and religion with utterly ridiculous flights of fancy and radical formal abstraction. A major, Major WTF.

totally delightful comedy on religion, politics and all that jazz. perhaps it might be all over the place but it's just so charming. many funny moments. also, that theme song in which the opening credits were sung was just so awesome.

Sporadically amusing (there are a good few laughs in it) and regularly annoying and tiresome. Lacking poignancy and instead just seeming a bit all over the place. It feels like Pasolini has just thrown everything he can think of at the film for the sake of it, as sporadically amusing as it is. It all just feels a bit...pompous? Amusingly so, but still...

I found the opening credits amusing, but it was pretty downhill from there. The humour was too silly and slapsticky and the film was too unstructured that it barely held my interest. It all felt too obvious and forced. It looked good and the score was nice, but not clever or funny enough to do anything for me.

enjoy it.

#713

Could have been a little more focused but I'll take it. Morricone's score really sets the tone and from the opening credits to the final scene I couldn't help but smile. The surrealism and and political commentary are all over the place but they hit a lot more than they miss and all things considered it flows pretty well.

A Morricone score is always appreciated, and this one has the added bonus of the opening credits cleverly being done in song. Toto and Davoli have a funny kind of chemistry together, and most of the episodes offer at least a smile or two. I also liked the film's surreal aspects. However, a lot of the humor is pretty stupid and/or slapsticky, and the movie is unfocused, taking allegorical potshots at too many targets. I started to lose interest by the end, a tighter structure might have helped.

Vivacious but pompous. And the tomfoolery doesn't make up for the pretentiousness. The most memorable thing about this for me is Morricone's brilliant opening theme song.

Very atmospheric and amusing film - for a Pasolini, of course, which means I dozed of only occasionally.