Love Meetings

Amid some unsurprising considerations from major italian popular figures of the time, Pasolini publicly asks questions related to sex, ethics, sociology and politics to those bold and naive enough to attempt an answer. The value of such an endevour - wether it is hundreds or hundreds of thounsands of interviews - is (admittedly by the author) debatable at best except for some - nowadays obvious - sociological observations.

Fortunately Pasolini closes (and saves) the film with a greatly poetic final 3 minutes section that feels like a wrap up of the "results" of his inquiry:

"Do men care about anything but living life? A couple getting married. They don't know anything about their love. Life is merciless the most when it is happy and innocent. The knowledge of what's good or evil lies ahead of this forgetfulness of those busy living. And those knowing don't talk in front of such a grace unwilling to learn. But this silence is criminal."

IMHO the movie is in this aphorism. While never boring the interviews are not really interesting (let alone sociologically relevant) either. The documentary was released rated for 18yo: a side note that again summarizes the point we can make today out of it.

Pier Paolo Pasolini always has a streak of the documentary filmmaker somewhere in his body of work, where he usually went for expressing his poetic viewpoint on the lower classes (i.e. Mamma Roma) and, later on, the dark fables and tawdry tales of Oedipus Rex and Arabian Nights. If Love Meetings, his only straight documentary feature, isn't completely impressive it may be because in the little moments when he tries for something poetic, oddly enough, like in the numbered transitions, it doesn't really work as well. Those little bits come off as dated 60s stuff. On the contrary though when Pasolini simply takes to the street with a 16mm and a microphone and asks people directly about sex and women's roles and homosexuality and fidelity and freedoms related to all of the above then it gets really interesting. In fact, for a movie relegated to Italian cities and countrysides, with sound-bytes from across the spectrum from college kids to professors (and author Alberto Moravia early on) to farmers in the fields, and done so on the fly and in classic cinema verite style, it doesn't usually feel very old fashioned.

Much of what's discussed and dug up by Pasolini (who reveals himself wonderfully here as a solid journalist, something I would have liked to have seen more of in his career after seeing this) can be relatable for today's youth, if only as a cohesive set of opinions and viewpoints and occasional factoids on standards set between men and women and privacy and liberation and so on. To be sure some of it is stuck in its time and place (practically all of the children asked "Where do babies come from?" say the stork, or something involving God or other). But a lot of it is so absorbing because of the generous flow of ideas- it's a wonderfully edited piece, as sometimes crudely constructed as it is, which is part of the point as a true independent production- and Pasolini's determination to get as much as he can at the heart or whatever at sexual relations and societal norms and what's changed over time in Italy and if there can be any more change in the future. It's probably the most obvious example from the director to screen in a sociology class. 8.5/10

Pasolini had some topics of interest, and in this documentary he enquires the italian populace about some of them!

The movie follow some kind of structure, but the overall concept is Pasolini interviewing groups of people in several different places. I find some of the question he does a little vague but for at the time being were quite outrageous!

There's the general depiction of how people thought about in the 60's Italy and although both Pasolini and the crowd had some outdated use of language for today standards, there are several interesting points of view for further analysis. Even Pasolini had to regulate some of the answers here with an amusing "autocensura"!

I'm not very fond of documentaries, it drags on a bit after a while , but I found myself engaged at moments.

I too was disappointed, but not for the reasons cited in the previous comment.

Instead, I found the film very hard to follow, with lots of academic buzzwords (interviewer Pasolini refers to "the sex problem" at least 20 times), not all of it subtitled, and subtitles that faded out of legibility against light backgrounds.

The movie was visually unappetizing, in part because of inconsistent and often inept camera work, and in part because of a sloppy transfer to tape that washed out the middle tones and often made it hard to see and read people's faces.

The most annoying element was the recurrent muting of the voice tracks (and of course the accompanying sub-titles) that was labeled "self-censorship." Was this a comment on official censorship of the time? I get the impression that the most interesting answers were lost to the audience through this process.

An interesting and meaty idea from a provocative and often great filmmaker, undercut by directorial inexperience and poor repackaging.

At first sigh, social portrait. Pier Paolo Pasolini across Italy , talking with large categories of people about not very comfortable themes. Their answers, the crowd, the familiar names from Antonella Lualdi and Oriana Falacci to Alberto Moravia, Cesare Musatti or Giuseppe Ungaretti interventions and the answers, genuine, innocent, in few cases hypocritics of people and the discover of powerful tradition defining rules of life, the difference, real profound, betwen South and North of Italy, the silence of middle class , the laws and the essence of a special world. Sure, in my case, the name of director/ interwiever was the basic/ fundamental kick for not ignore this documentary. The prize - the high honesty, the humor, smiles, reactions, laugh, shame, reactions, the manner to explore the one front of him by Pasolini, the crumbs of nostalgia, the memories about pasolinian textes. So, a large slice of life, provocative, in same measure, yesterday and today and, in my case, just fascinating.