Yeah, I saved that article, and serendipitously happen to have 2 of his movies here from Netflix waiting to be watched.

Rat on, and it is NICE to know he wasn't a creepy sadist after all!!

A discussion about Pasolini flared up when I posted this article to my cult's forum, and I thought I'd cart back some of what is going on there:



~ this bit:
>> " (Pasolini was investigating the Mafia and prostitution for a documentary at the time of his death, and ties between neo-fascists and elements of the Mafia have been well-documented.)"<<

which the author presented parenthetically, was intense and emotional for me to read, because it's something that the hoity-toities of the art world have always known (regarding Pasolini's murder) but finally it hits something like the mainstream press - 30 *years* after the fact - and we can finally say, and know, and be certain, that here is the force which will be applied to artists of his caliber. To this day, Pasolini is dismissed as pornographer, pervert, pimp - yet, if he'd been hetero, he'd've been
called "genius", "towering talent", "essential spokesperson".

It's pretty key to me, in so many ways; as things swing wildly 'right' and
'left', the essential anti-Fascist message of Pasolini's body of work has become vital to America's present and future. That he was a powerful cinematic voice (rather than a smut peddler) has always been obvious to me - it has always frustrated me to realize how few people (in the arty-farty scene) can find their way clear to agree with me on that. It has always bothered me, for instance, about 'Salo', that 99.9% of viewers
focus on the mere fact of the imagery rather than the essential philosophical/historical message behind it. It's just plain *other* than a mere re-telling of Sade's angry rant against the strictures of society - the indications of Salo press far beyond Sade's wail for freedom, in fact, they turn Sade's words against him, and turn philosophy *itself* ass-over-eyeballs (so to speak) accomplishing what thinkers and writers since are typically unable to do: he added to the body of human thought.

That his thought appears so gruesome on the one hand and yet seduces the viewer into briefly asking for *more* degradation, *more* extremity on the other is a pure and true artistic triumph. His work has even become *more* important and *more* shocking since his death, as people world-wide choose to shut their eyes to truth, opt to blind themselves with pretty falsehoods and render themselves unable to face
the requirements of a world that is, after all, ever more violent and evil. I see this evil and violence as an inevitable outcome of the willingness of the vast majority to ignore it.

That's why I posted this link, but more keenly felt, it's why I work toward the piece we're calling "the Sigil".

That he was murdered by the fucking Mafia (acting as strong arm for holdout rich Fascismos) is something that film-heads have 'known' since long before those magic afternoons in the 1990s when we watched Salo on Marlbrook and felt the blood drain from our faces.

People desire to ignore the fact of wrong-violence and evil-rule, and so it
flourishes and becomes more wrong and more evil than we will soon be able to conceive or address as a species, and if that cinches, we will all have ceased to merit favor in "ye Gods' " eyes. Facts is facts. Hear me. ~