His name was Woodrow Wilson Woolwine Strode and he was a football star, a professional wrestler, a WWII veteran and a famous Hollywood character actor who should have become a star. But the closest Woody Strode ever got to playing the leading role in an American film was Sergeant Rutledge (1960), in which he portrayed the title character but was fourth billed after Jeffrey Hunter, Constance Tower and Billie Burke. In an ironic twist that makes sense in a Pre-Civil Rights Hollywood, Strode had to travel to Italy to finally receive top billing and the only genuine leading role of his career in Black Jesus (1968) aka Seated at his Right (the Italian title is Seduto alla sua Destra). It is probably one of his least known films but easily his biggest role and possibly his best performance.
In its own way, Pier Paolo Pasolini’s 1961 directorial debut Accattone could be seen as the last gasp of the Italian neo-realism movement. It is also a remarkably self-assured first film that blends the lyrical with the sordid in its depiction of life on the outskirts of Rome where pimps, thieves and petty criminals scrounge for a living with little hope of ever escaping their dead-end existence. Based on Pasolini’s second novel, Una Vita Violenta, Accatone successfully launched Pasolini as a film director but also marked the beginning of an acting career for Franco Citti in the title role. What is most interesting is that Una Vita Violenta was again adapted for the screen under that title the following year but it is hardly ever mentioned or revived. Pasolini had no involvement with the production but it did star Franco Citti in the central role of Tommaso, a character similar to Accattone, and the two films would make a fascinating double feature in terms of their contrasting tones and directorial style. Continue reading