JasonGuzman This film is really interesting because it mixes religion, politics, philosophy, society with a blend of humor and seriousness. Pasolini was an enigmatic filmmaker and this film is hard to follow much of the time. I don't think it matters that I couldn't understand it because I was astounded by the cinematography, location, characters and especially the setting. I noticed a lot of Italian directors from this period made great use of these desolate locations. In this film I felt like I was transported to Biblical times. The contrast between the stern businessman and his happy-go-lucky son was very entertaining. The film seems to be dealing with the erosion of religious values. I believe, there's symbolism that Pasolini wants us to analyze. If you liked his earlier films, I don't doubt you will enjoy this one.

Atreyu_II I never heard of 'Uccellacci e Uccellini' before, neither of its director (Pier Paolo Pasolini). I watched it now after, recently, this 64-year-old man who likes the film having recommended it. He gave the name of the film and the name of the director. He sort of explained what the story was, but he talks and talks and talks... one moment he is telling one thing, then he suddenly changes to something completely different. So I didn't understand very well what was the story about.I think this is a silly movie. Sure, it is well filmed, with nice cinematography, a nice soundtrack by the mythical Ennio Morricone (in this case, with Domenico Modugno singing) and some clever humor. For example, the bird whistles were fun and I found it funny whenever the crow was following those two guys and, for some reason, the way it walked was hilarious. The idea of the crow telling stories of franciscan friars is kinda childish, nonetheless fun.The stories themselves were not as fun as the talking crow itself, though. They have some fun at first, but then they become boring as hell, making the movie appear to be longer than its short 85 minutes. Plus, there were lots of moments when humor was clearly cheesy and much too silly for my tastes. The ending of the film would have been good if those two hadn't murdered and eaten the crow. Ugh, I can't stand animal cruelty! Pasolini considered this film to be his favorite. On that I can't comment, as I don't have knowledge on his filmography.

ANNIESCLAN-1 Pasolini carried three labels that implied some sort of political or intellectual curiosity and complexity: Marxist, atheist, homosexual. And, like a true politician, he created evasive films that choose not to elaborate. Everything in The Hawks and the Sparrows is a contrivance used to further deepen the myth of the film. I was silly to think that I could discover something about Pasolini by watching it. Instead, I was separated by WWII-era political ideologies and symbolic occurrences. Yes, that's right, a talking crow is symbolic of a Left-wing intellectual while Toto and his teenage companion act as the apolitical naive characters whose journey ends at the beginning of the film. And you don't have to be a gnostic to find out; Pasolini chose to insert text that reads "the road begins and the journey ends" at the beginning of the movie. The insertions of text are instrumental to Pasolini; they also inform the viewer about the bird being the Leftist intellectual.Yet, most viewers will learn to dislike Pasolini's textual interventions. We want to be lazy, and we want to laugh at Toto's gesticulations and facial movements as he does the impression of the woman who uses the dentures. We don't want to get a history lesson, or at least not on our watches. And, if the text was never in the film, we would be able to disregard Pasolini's symbolic implications. But, since he puts that text in there and tells us what to think, we can't just dismiss it. That text dictates, it says that, even if you had created your own conception of what the bird symbolized, you're wrong, because, "for anyone who hasn't noticed, the bird is a left-wing intellectual." Truthfully, I might've been more interested in the connection between the word "wing" and the fact that the character was a bird than that the bird represented some type of ideology.Did I not know what I was entering into? I bought the movie, knew it was directed by Pasolini, the DVD box was blue on the side, no, there weren't any missing steps. But, even with all of the correct preparation before viewing The Hawks and the Sparrows, it would have been alienating. Although we learn about Pasolini's political status through the actions of a bird, a hatted man and a smiling boy, we are isolated from Pasolini himself. Using politics is a great way for someone to sterilize something. And, in the expressive and vivid area of art, an artist is kicking himself in the pants when he combines art with politics. Can anyone listen to John Lennon without thinking of his political life? Probably not. Which is the same case with Pasolini.As negative as this review may seem, The Hawks and the Sparrows is one of my favorite movies. I love talking birds over Ennio Morricone music. They work well together, like pepsi and Chinese food. I don't know how Pasolini pulls it off. Man. If anyone else tried to combine a political idea with art, it would be like trying to match navy blue with black. Maybe I'm creating the wrong visual image here. This movie is fantastic, especially when Toto and the boy get shot at, making them run up mounds of dirt.

Zen Bones How does one describe a film like this? Imagine a Bunuel film like THE MILKY WAY. A couple of men walking on an empty road. They're on a strange journey only their destination is the beginning of their journey (huh?) and the two men are as funny as the best cinema clowns in screen history. Somewhat Felliniesque, somewhat Chaplinesque, throw in a little De Sica and even a dash of Monty Python and you can begin to have some idea of what this incredible blend of absurd and hilarious satire is like. Unlike Bunuel's films, this film is joyous. It has heart, passion, and an imagination springing somewhere from the soul. The film takes its stabs at religion, academics, and government but it does it in a playful way that leaves one feeling rejuevenated instead of that sour feeling that one feels after watching most social satires. It's hard to believe that this is a Pasolini film. It's about as far on the spectrum from SALO that one can get, yet it's sad that in comparison this film is almost completely unknown. This is definitley worth seeking out on video. I'm hoping that I can find a soundtrack recording for this. It is one of the best Ennio Morricone scores I've heard, which is saying a great deal!