Pier Paolo Pasolini was murdered on 2 November 1975, with his body discovered the next day, barely recognizable due to brutal injuries. Regarded as Italy’s foremost intellectual and artist, his death has often been interpreted through the lens of his controversial life, particularly his relationships with working-class boys. This narrative suggests he was killed in a way that painted him as seeking his own destruction, aligning with conservative views of his lifestyle.
Pasolini, born in 1922, grew up in Bologna during Mussolini’s rise to power. After facing a scandal in the late 1940s, he relocated to Rome, where he became deeply embedded in the city’s underbelly, famously exploring themes of class and sexuality in his work. His notable films include Accattone, The Gospel According to St Matthew, and the controversial Salò, or the 120 Days of Sodom, which grappled with themes of power and compliance.
By the 1970s, Pasolini was an outspoken critic of societal corruption and fascism’s resurgence, particularly during Italy’s “Years of Lead.” His 1974 essay, Io so, hinted at a conspiracy of political and economic interests undermining democracy. Pasolini was killed shortly after discussing these themes, with speculation suggesting his murder was orchestrated to silence him and discredit his warnings.
Despite his troubled personal life and controversial views, Pasolini’s art continues to resonate, as he was a keen observer of the societal decay he predicted. He believed capitalism would blend into fascism, and his final work was a stark reflection of this vision. His legacy endures as a powerful voice against oppression, continually warning about the dangers of compliance and authoritarianism.
