Pimpin places a call to his favorite writer Michel Houellebecq.
Pimpin: Hello.
Michel: Hello. Who is this?
Pimpin: Michel, its me Pimpin.
Michel: What do you want?
Pimpin: Sorry to disturb. I wanted to discuss a film that I watched. I wanted to hear your thoughts on it. Its this Italian film - Fists in the Pocket by Marco Belloccio. Came out in the 60s.
Michel: OK.
Pimpin: What do you think about it?
Michel: It did have a couple of nice pieces of ass. Paola Pitagora was unforgettable.
Pimpin: Hahahha. I agree. What did you think about the film?
Michel: Well, it was one of those films where the protagonist rebelled against his family and Catholic values. You know what I think about all that stuff, Pimpin. Nothing good came out of it. Sure, a lot of people escaped their families. And then they went and lived alone. Did drugs. Drank a lot. Individuality and personal freedom. Look at where all that got Europe now.
Pimpin: I thought the film was quite slow.
Michel: Its a piece of crap. But then, it was made in the 60s.
Pimpin: I did some research on it. The film apparently predicted the student and youth riots of the late 60s in Italy.
Michel: Hahahah. You really bought into all that crap?
Pimpin: I know its a bit like how Indian social commentators use crappy films like Deewar to explain the 70s and 80s.
Michel: Exactly. Its completely phony Pimpin.
Pimpin: I'm still confused. I don't know what to think about the film. I mean, the film is quite depressing.
Michel: Well, tell me something about the cinematography, pacing and background score. That would help us interpret it better.
Pimpin: It was a very stark film. Morricone's score was very bleak. The score is played during all the murder and post-murder scenes. It is one of Morricone's bleakest scores. I liked the way some of the scenes were framed. Like at the party where the rebellious protagonist is sitting alone and there are a lot of people dancing. He does not even drink. He has no bad habits. But he wants to kill off his family. The pacing was slow.
Michel: Did you identify with the film?
Pimpin: Sort of. But like I said it was too slow. The actors were great. The director was quite successful in capturing the claustrophobic environment in which the family lives.
Michel: Did you get married recently?
Pimpin: Yes.
Michel: So you are not to be trusted.
Pimpin: Why?
Michel: You would have liked this film a lot more during your wild bachelor days.
Pimpin: Thats probably true, Michel.
Michel: It is.
Pimpin: I did think that it was a very personal film. I mean, the director is very talented. He did portray the ills of the bourgeois life and the life lived on pure instinct quite well. I don't think he was rooting for either.
Michel: Did it work as a murder mystery?
Pimpin: No. I think it works best as the zeitgeist of that time in Italy. But it was quite boring for me.
Michel: OK. Is there anything else that you want to discuss?
Pimpin: The actors were great. I mean, most of them were better than the ones in the worst Indian movies. But I would not watch another movie because anyone of them were in it.
Michel: OK.
Pimpin: Read about he Paris attacks. Quite scary.
Michel: (Silence)
Pimpin: Hello?
Michel: Pimpin, you weren't too impressed by this film. In fact, you were bored to death. You only called me because it had an 8 rating on IMDb.
Pimpin: You are right, Michel.
Michel: Take care, Pimpin.
Pimpin: Bye, Michel.
Michel: Bye
Pimpin: Hello.
Michel: Hello. Who is this?
Pimpin: Michel, its me Pimpin.
Michel: What do you want?
Pimpin: Sorry to disturb. I wanted to discuss a film that I watched. I wanted to hear your thoughts on it. Its this Italian film - Fists in the Pocket by Marco Belloccio. Came out in the 60s.
Michel: OK.
Pimpin: What do you think about it?
Michel: It did have a couple of nice pieces of ass. Paola Pitagora was unforgettable.
Pimpin: Hahahha. I agree. What did you think about the film?
Michel: Well, it was one of those films where the protagonist rebelled against his family and Catholic values. You know what I think about all that stuff, Pimpin. Nothing good came out of it. Sure, a lot of people escaped their families. And then they went and lived alone. Did drugs. Drank a lot. Individuality and personal freedom. Look at where all that got Europe now.
Pimpin: I thought the film was quite slow.
Michel: Its a piece of crap. But then, it was made in the 60s.
Pimpin: I did some research on it. The film apparently predicted the student and youth riots of the late 60s in Italy.
Michel: Hahahah. You really bought into all that crap?
Pimpin: I know its a bit like how Indian social commentators use crappy films like Deewar to explain the 70s and 80s.
Michel: Exactly. Its completely phony Pimpin.
Pimpin: I'm still confused. I don't know what to think about the film. I mean, the film is quite depressing.
Michel: Well, tell me something about the cinematography, pacing and background score. That would help us interpret it better.
Pimpin: It was a very stark film. Morricone's score was very bleak. The score is played during all the murder and post-murder scenes. It is one of Morricone's bleakest scores. I liked the way some of the scenes were framed. Like at the party where the rebellious protagonist is sitting alone and there are a lot of people dancing. He does not even drink. He has no bad habits. But he wants to kill off his family. The pacing was slow.
Michel: Did you identify with the film?
Pimpin: Sort of. But like I said it was too slow. The actors were great. The director was quite successful in capturing the claustrophobic environment in which the family lives.
Michel: Did you get married recently?
Pimpin: Yes.
Michel: So you are not to be trusted.
Pimpin: Why?
Michel: You would have liked this film a lot more during your wild bachelor days.
Pimpin: Thats probably true, Michel.
Michel: It is.
Pimpin: I did think that it was a very personal film. I mean, the director is very talented. He did portray the ills of the bourgeois life and the life lived on pure instinct quite well. I don't think he was rooting for either.
Michel: Did it work as a murder mystery?
Pimpin: No. I think it works best as the zeitgeist of that time in Italy. But it was quite boring for me.
Michel: OK. Is there anything else that you want to discuss?
Pimpin: The actors were great. I mean, most of them were better than the ones in the worst Indian movies. But I would not watch another movie because anyone of them were in it.
Michel: OK.
Pimpin: Read about he Paris attacks. Quite scary.
Michel: (Silence)
Pimpin: Hello?
Michel: Pimpin, you weren't too impressed by this film. In fact, you were bored to death. You only called me because it had an 8 rating on IMDb.
Pimpin: You are right, Michel.
Michel: Take care, Pimpin.
Pimpin: Bye, Michel.
Michel: Bye