Based on his 1959 novel, Una Vita Violenta (A Violent Life) Pier Paolo Pasolini's debut film, Accatone, changes the protagonist from a homosexual to a pimp, but both works remain centered around the hopelessness found in Rome's slum life. It's a world that the renowned poet knew well, having written numerous poems and novels about the underclass after moving to Rome in 1949. Fellini certainly recognized his talents, which were employed for extra dialogue in Nights of Cabiria and uncredited additions in La Dolce Vita. A self-proclaimed Marxist, Pasolini consistently explores ideological and sociological issues in his works, and this first film is no exception.

Accatone carries on the Italian neo-realist tradition found in Shoeshine, The Bicycle Thief, and Open City--but presents an even bleaker picture than Rossellini and De Sica. Having never worked a day in his life Vittorio Accattone (Franco Citti in his screen debut) has survived relatively well as a pimp for his girlfriend, Maddalena (Silvanna Corsini), but when she is imprisoned, Accatone's livelihood deteriorates rapidly. Hunger drives him to desperately work one day and even seek his former wife in the face of her angry rebuffs and threats from his former father-in-law. Undaunted, the charismatic Accatone uses his charm to woo virginal Stella (Franca Pasut) and manipulate her into following the same course her mother took to survive.

All the characters appear trapped in their roles of the underclass, which essentially have remained the same since the beginning of civilization. Dominated by poverty and motivated by survival, death wishes are toyed with but in reality almost become a welcome refuge from the vicious cycle. They even play “death games” like the opening bet that Accattone can't eat a bellyful of potatoes and swim the Tavere River immediately afterwards.

Pasolini's cinematic view of Rome's underbelly is far grittier than other treatments, and this is no film for anyone expecting polished and stylized views of poverty. Individual scenes invoke poetic thoughts--one that comes to mind occurs with some beautifully frames shots in a small family plaza where Accatone's small estranged son is throwing stones at glass bottles, the only "toys" that he'll have. As with Italian neo-realist films, shooting on location lends authenticity as does Pasolini's exclusive use of non-professional actors. Considering that this is Pasolini's directorial debut as well, makes this film even more compelling.

By no means a perfectly executed film, Pasolini doesn't delve deeply underneath the surface of poverty and sometimes relies on a seemingly discordant Bach soundtrack to lend emotional and spiritual substance to his imagery, but he doesn't over-sentimentalize his characters and their situations. His camera expertly focuses in on the protagonist, revealing both his good and evil nature without judgment, which allows other filmmakers to discover Citti's acting talent. He establishes a film presence, and alone among the major actors goes on to a long acting career.

Above all, Accatone establishes Pasolini as a notable directing talent, who doesn't shy away from painting realistic portraits of the seamy side of life. Radical poets are destined for controversy, and Pasolini dives in to create a body of films about Rome's underbelly--this is the first.