What goes into the making of a movie? By “movie,” in Pasolini’s case, I take it that we mean a distinctive, unprecedented, unforgettable way of seeing, in which the world is turned toward us and shown in a new light. And the new light is not merely glittering and irresistible (though in Pasolini it is regularly both) but necessary. Necessary to its subject: in this instance, in the films Pasolini made in the early 1960s, the face and temper and desperation—the disintegrating identity—of the proletariat as the long epic of class struggle drew to an end.
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