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616                                     Jack Fritscher, Ph.D.
            their cocks can shoot. They miss Pasolini’s value of using parallax gay
            vision in a twisted straight world.
               Pier Paolo’s images are strong. His message is clear: FASCISM IS
            COMING OUT OF ITS CLOSET, TOO. His film won’t let us ignore it.
            He shakes us so bodily we want to turn away our faces from the screen. We
            may not emotionally like what we see; but, understanding his visionary
            point of view, we can intelligently distinguish and explain how what he
            films is not about our Ritual S&M, but about a real political-moral reality
            that, like something dreadful, this way comes.

            GET THE PICTURE?
            In defense of her own bizarre short stories’ strong images, Flannery
            O’Connor wrote about people who have eyes and see not and ears and
            hear not: “To the almost deaf you have to shout; and to the almost blind,
            you have to write in very large letters.”
               Pasolini’s death-cry, Salo, shouts very large.

            III. Eyewitness Illustrations

                    “Pier Paolo Pasolini,” 1974,
                        publicity photograph.

          ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
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