Pasolini’s “il Vangelo secondo Matteo” is a classic movie used in the history of
European cinema to identify the social/religious trends and the historical context
of Italy during the early sixties. In this sense Pasolini, as both a film director and
the script writer, was not distant from these related social settings. Indeed, his
revolutionary and radical character coming from a Marxist tradition, which was
much eradicated in Italy since Gramscian writings, has played a particular role in
this work. However, many elements in this production were related not only to his
personality and background, but to the political debates at that time. The sixties
in Italy represent the cinematic period that saw the rising of the Italian comedy “la
commedia all’italiana” shifting away from the tragic and cruder films of the
neorealist period. Upon that, the cultural policies of the Andreotti’s agenda were
pushing to present an Italy that is positive and wellbeing (Alberto Sordi
interpretation in « il boom » of 1963 was anyway a parody of this image). Pasolini
instead of following such canonical directives and being an anti-conformist
wanted to deviate from the mainstream cinema « filone cinematografico ».
Moreover, in Italy at that time a dialog on openness and renovation was
established between the Catholic Church (which still had strong social ties
compared to today’s situation), the state and the Italian society. This “dialog” was
personified by the Pope Giovanni XXIII (Angelo Giuseppe Roncalli, who died in
Rome on 3 June 1963), for which Pasolini had a personal admiration. This film,
can be seen at the beginning, is dedicated to him “alla cara, lieta, familiare
memoria di Giovanni XXIIII". In fact the idea of filming “il Vangelo secondo
Matteo” goes back to 1963, when Pasolini read the evangelist Matteo (Matthew)
in his hotel room in Assisi while wanting to meet personally the Pope. Although
he was an atheist, Pasolini had also an admiration for the figure of Jesus Christ
considered by him as a revolutionary leader. The film that came out one year later is the interpretation of that holy Matthew writings, basically from the
annunciation to the Ascension.The film itself is poetic and lyric; a particular attention should be given bylistening to the soundtrack music which is innovative for what concerns the use of
gospel songs, but classical for other soundtrack parts (Bach, Mozart,
Prokofiev…). The environment chosen is intended as being similar to Palestine
(which Pasolini explored for this production in 1964) – recognisable is the
landscape of Sassi di Matera in southern Italy which became the main set
location. In the overall, Pasolini movie is inventive, but not so different from other
attempts of that time, and even of some years before. I mean the same attempts
to present a simple and very “working class” vision of Christianity. It comes in my
mind in this sense the film « Francesco Giullare di Dio », a movie of Rossellini
filmed in 1950 in a crude and simple environment like the one reproduced by
Pasolini. In this way Pasolini and Rossellini can be also inspirational linked each
other because both were involved in the controversial RoGoPaG movie of 1963
(a co-production between Rossellini, Goddard, Pasolini and Gregoretti).
Moreover Pasolini personal past as a vernacular poet in the region of Friuli
during the war and his affection for common people and rural settings it is also
represented by the cast selection of “il Vangelo secondo Matteo”. During the
screening, we can recognise non-professional actors, very simple people with
astonishing expressive characteristics, including the main figure of the Christ.
This style and simplicity is not dissimilar from what is seen in Rossellini and
Visconti neorealist films. For example, de Sica “ladri di biciclette” of 1948 is also
an illustration of a low-budget production without professional actors. Therefore, I
think we should not give too much credit to the cinematic style because his anticonformism
is basically expressed by keeping in this movie neorealism alive,
essentially ignoring the political directives of the time. What instead is innovative
is the way to portray the main subject (the Christ).At the end, even if criticized from both sides, Italian political left and right, the film was prised by the Catholic Church in 1964. To conclude, the production and style of “il Vangelo secondo Matteo” is definitely linked to Pasolini personal past,
radical ideas, but as well to the historical settings of Italy at the time. A reason
more to intend social history and film productions, with its different evolving
cinematic styles, as being both inevitably connected.
Achim A. de Merlo