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Combustible Celluloid Review - Fists in the Pocket (1965), Marco Bellocchio, Marco Bellocchio, Lou Castel, Paola Pitagora, Marino Masé, Liliana Gerace, Jeannie McNeil, Pier Luigi Troglio

Anderson Many top film writers, including Pauline Kael and male monarch Thomson, have called Marco Bellocchio's Fists in the funds (1965) one of the all time great introduce features. One of the marks of a great debut, however, lies in the work that comes afterward, and most of these assonant writers agree that Bellocchio has yet to lively up to his front film. Although his very new films, wish My Mother's facial expression (2002) and good enough Morning, Night (2003) feature come close.

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Criterion Confessions: FISTS IN THE POCKET - #333

They are emotionally twisted, physically deficient, and so caught up in each other's business, it's impossible for them to free themselves from one another. The family in Marco Bellocchio's wayward 1965 satire Fists in the Pocket is up location with the great oddball clans of cinema, somewhere between those brilliant Ambersons and the killing lineage of Texas power saw Massacre. Bellochio's is a family of five--four children, and one blind mother (Liliana Gerace).

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NYFF '65: Fists in the Pocket | Film Society of Lincoln Center

Marco Bellocchio’s detonating beginning feature—a macabrely funny, chock-full frontal assault on christian religion kindred value and other forms of Italian patriarchy—has lost none of its sting, or its brilliant filmmaking fervor, in the figure decades since its avant-garde release. In a ferocious carrying out of Brando-like physicality, 22-year-old Lou Castel stars as Alessandro, the scion of a once-prominent Italian menage now languishing in a state of unnatural lethargy. Systematically, he act to rid his brother Augusto—the only family social unit not stricken by blindness, epilepsy or madness—of all that stands 'tween him and a existence of freedom.

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