The Vatican was not amused. It wrote in its organ, L’osservatore romano, that in Teorema, the devil had visited the family and, therefore, beware of visiting Pasolini at the cinema. In fact, in his characterization of disrupting convention and loosening the passions, the divine had been a Dionysian god, in an apocalyptic manifestation—that is, revelation. You couldn’t blaspheme more unforgivably than to deliver the message of revelation through a pagan god. So, Pasolini’s St. Paul became a casualty of Teorema and was never brought to the screen.

Still from Pasolini’s “Teorema.”

But we have the screenplay.  Translated magisterially with an excellent introduction by Elizabeth A. Castelli, published by Verso with a preface by Alain Badiou, Pasolini’s St. Paul: A Screenplay, is in Badiou’s words, “a literary work of the first magnitude.” The question at the heart of the work is this: can any revolutionary idea survive institutionalization? As Badiou aptly observes,

This scenario should be read not as the unfinished work that it was, but as the sacrificial manifesto of what constitutes, here as elsewhere, the real of any Idea: the seeming impossibility of its effectuation.

In a sort of spiritual testament, published posthumously, Pasolini wrote:

Every formal religion, in the sense that the institution becomes official, is not only unnecessary for improving the world, but it also worsens it [my translation].

For Pasolini, Christianity in its original context had been a positive social force, opposing slavery and challenging the Roman Empire, but, as the screenplay makes clear, it was a brief revolutionary moment between two laws, the old imperial law of Rome and the new imperial law of the Christian church.  In the interregnum when “the old cannot die and the new cannot yet be born” (Antonio Gramsci) it is possible for a communitarian society of popular democracy to breathe.

It took forty years for the polemical idea of a subversive Christianity to emerge backed by scholarly authority. It is a pity that Pasolini never filmed his St Paul because his treatment of early Christianity undermining Roman domination is central to a revolutionary understanding of pre-institutional Christianity.

Today, Pasolini’s thesis of an anti-colonial Christianity, rising from its eastern dominions (Antioch was the third most important city of the Roman Empire) would have fit in among new perspectives on traditional Pauline studies. Over the last thirty years, researchers and theorists in postcolonial, feminist, and political-anthropology studies have insisted on the importance of context in reading Paul’s letters.  Already in Pasolini’s time, the revision was brewing.  In 1962, a Pauline scholar in Sweden, Per Boskow, had published a study, Rex Gloriae: The Kingship of Christ in the Early Church (Stockolm: Almquist and Wiksell, 1962), which suggested that hidden modes of resistance were to be found in early Christian worship and ritual. A Paul covertly involved in the politics of Empire ran contrary to the Protestant tradition, which saw Paul as the apotheosis of homo religiosus, the “man of faith,” ever since Martin Luther had found in Paul’s Letters to the Romans his own “justification by faith” for breaking from the Church of Rome.

St. Paul : A Screenplay by Pier Paolo Pasolini Translated by Elizabeth A. Castelli Preface by Alain Badiou Introduction by Ward Blanton Hardcover: 240 pages Publisher: Verso (July 15, 2014) ISBN-13: 9781781682883

The impetus for reading Paul against Pauline tradition had thus become a moral imperative and a historical task. Exegetic studies uncovering resistance in the New Testament took off in earnest and bore fruit in the 1980s. Starting with Simon R. F. Price’s groundbreaking work, Rituals and Power:
The Roman Imperial Cult in Asia Minor, on the Roman imperial cult in the cities through which Paul travelled and preached and continuing through the work of political-anthropologist, James C. Scott, Erik Heen, et al., Pasolini’s idea of presenting Christianity as a political actor in the drama between the empire and its eastern, Greek-world subjects would have been validated. No doubt, catching up with
the revolution in Pauline studies weighed in on the decision to translate and publish for the first time
in English this decades-old text.

We cannot be sure that Pasolini was influenced by the theological turmoil simmering just beneath the surface of Pauline studies in the Protestant world, but we do know that for the years he worked on his St. Paul (1968-1974), he met and regularly corresponded with a sympathetic theologian in the Vatican, who must have been informed of such momentous moral crossroads traversing Christian theology as a result of the Holocaust.  Question about the Vatican’s role in the tolerance to Nazism abounded, after all.

Throughout his mature writings, Pasolini faulted the Church for becoming, as recently as the 19th century, the toy of the religiously apathetic bourgeoisie, the instrument of its legitimacy—in a survival effort, perhaps, to continue to function as a viable institution by accommodating the values of the liberal democracies ushered in by the social struggles of the French Revolution. In Pasolini’s view, the Church’s compromise with a cynical, secular, acquisitive and counter-revolutionary bourgeoisie had taken the soul out of its body. Abandoning the side of the oppressed, the Church had become irrelevant. In fact, more than irrelevant: it had become criminally repressive. But was this compromise with the ruling class singular or constitutive of the evolution of Christianity? Was the worm that turned to eat the heart out of the Church there from its beginnings?

It is, of course, extremely risky to “close the text” on Pasolini’s volatile, self-deconstructing, deliberately unstable works. In an echo of Marx, they scream out, “question everything,” including, and especially, the author. The script appears to be tossing in a furious dialectical vortex of  contradictions. No sooner does one think one has grasped Pasolini’s intention than that certainty evaporates. Suffering Paul, for example, tormented and debilitated by a mysterious malady, seems to
be representative of the suffering body of humanity, constituting his religious side. His self-assurance in organizing the Christian communities, resulting from his high social class, his education, his professional (and rhetorical) training represents his active, energetic, worldly side.  Who will rescue me from my split subjectivity? (St Paul, Rom. 7:14-25), Paul himself pleads, referring to his bodily needs and the duty to God.  The mental and emotional turmoil the text creates with these contradictions (at least in this reader) derives from the purest and most provocative of Brechtian “alienation effects.”  The film would have intensified this effect, placing the word and the image in a conflict of meaning on the screen.

Nevertheless, I will risk an answer: yes, the screenplay strives to confirm that the worm was there
from the beginning.  The account in Acts/ Luke-Acts of the founding of Christianity mystifies history.  Pasolini chooses an example: the meeting of the evangelical leadership at an event known as “the incident at Antioch.”  Not only had Paul earned the mortal enmity of the fanatic Pharisees for evangelizing the new religion but also the opposition of Peter and his adherents for converting the Gentiles without “judeiazing” them (that is transmitting the Law of Moses). During the “incident at Antioch,” the script depicts Peter and Paul in a face-off close-up nearly coming to blows over the issue of “judeizing” the Gentiles. Luke, the author of the Acts, a history of the founding of the Church, stands apart, patrician, ironic, amused as the cacophony of the mutinous meeting turns into sullen silence.

Later in his luxurious study, Luke, dispassionate, methodical, writes down, in his “elegant handwriting,” a sanitized version, a précis of an amicable resolution to this world-consequential dispute over the relationship between Christianity and Judaism, at the end of which he rises from his chair and gives a satisfied belch. Judaism lost. Luke is depicted as the consummate propagandist; Pasolini describes him as incarnated by Satan.  To Satan, invisible, Luke will demure, “The Church is only a necessity” (the stress on “only” is Pasolini’s).

To further illustrate Luke’s unreliability, Pasolini gives him an accomplice: Satan.  When the Church is all but founded, with the impending accession of Timothy to the bishopric of Ephesus, Luke and Satan (seen from the back only) toast to “their church” with a bottle of champagne:

They drink and get drunk, evoking all the crimes of the Church: a huge, long list of criminal popes, of compromises by the Church with power, of bullying, violence, repressions, ignorance, dogmas.  At the end, the two are completely drunk and they laugh thinking of Paul who is still there, travelling around the world, preaching and organizing.

In a tone reminiscent of Christopher Marlowe’s iconoclastic, poetically splendid “blasphemies” in Doctor Faustus, Pasolini narrates Satan’s thoughts:

The Church is founded. The rest is nothing but a long appendix, an agony. The destiny of Paul doesn’t interest Satan: Let him be saved and go to Paradise anyway. Satan and his hired assassin [Paul’s eventual assassin, a fascist thug who despises Paul’s “anti-Israelite” ideology] laugh sarcastically, satisfied.

Not only the course of the official church but also Paul’s fate is sealed—there will be no more need for evangelizing; the church will assume  “pastoral care” and manage its faithful from the pulpits of its now proliferating churches.

One of these is in Ephesus, which Pasolini resets in contemporary Naples. While in voice-over we continue to hear Paul’s voice composing his long letter to Timothy, bidding purity, modesty, prudence, continence, gravity, piety — all the virtues of humility that restrain pride — the camera is directed to showing us a scandal of pride, luxury, class-power, and excess: In a grand pomp, there is Timothy, dressed literally in gold, crushed under the mitre, almost unrecognizable. And all around the multicoloured and magnificently carnivalesque chorus of other priests… A group of authorities:  high officials, puffed up like turkeys in their grand uniforms; political men, in their black, double-breasted suits, with vulgar and hypocritical old faces; the throng of their bejeweled ladies and their servants, etc., etc.  The altar encrusted in gold — a true and real golden calf — full of baroque affectations and neoclassical flourishes, work of total unbelief, official, threatening, hypocritically mystical and glorifying, clerical, of the master.

Ite, missa est. It is finished, except for disposing of Paul whose evangelical zeal seems to be unstoppable and institutionally embarrassing.  St Paul, as noted, is set in the 20th century. The places are, therefore, altered: Jerusalem becomes Paris, mostly during the Nazi occupation (the Nazis stand for the Romans; the Pharisees are the collaborating Petainists and French reactionaries, of whom Paul is one); Damascus becomes Barcelona, in the aftermath of the fascist victory in Spain; Antioch is “rational” Geneva; Athens becomes modern, intellectually shallow, “dolce-vita” Rome; and Imperial Rome is relocated in New York, the belly of the new imperial beast.

After Paul’s conversion to the Word (analogously, to the anti-fascist Resistance), which almost coincides with the end of WW II, his evangelical travels take him throughout Europe, now reveling in post-war consumerism. His travels acquire a picaresque quality. In some of the most satirically comic scenes, he preaches to absurdly inappropriate audiences: in Bonn, he preaches to industrialists, causing a Neo-Nazi riot; in Geneva, he upsets the stolid Christian sympathizers and potential donors with his excessive emphasis on sexual continence; in Rome he bores his idle nouveau-riche hosts with his antique rhetoric of a Christian faith, whereas they anticipated hearing a pop-celebrity mystic, similar to Krishnamurti; in New York’s Greenwich Village, he preaches obedience to authority to an assorted group of black rebels, youngsters high on pot, anti-war activists, feminists, and desperate young refugees from suburban, middle-class emotional and mental entropy. Here, too, he causes a riot, in which the police intervene and arrest him.

So, in the end, if only for reasons of provoking the authorities and causing bad publicity, he has to be got rid of.  Pasolini has him shot (by Satan’s assassin, the fundamentalist pro-Israelite fascist thug) like Martin Luther King—on the balcony of a shabby hotel on the West Side of Manhattan, the exact replica of the Lorraine Motel in Memphis.  His blood trickles down to the pavement below to form a “rosy puddle.” The events in the life of this cinematic Paul have stretched from the Nazi-fascist era to 1968, “the era of a false liberalization, actually desired by the new reformist and permissive power, which is also the most fascist power in history” (Quoted in “Afterword” by Ward Blanton; my emphasis).  In other words, to the time of our own postmodernist liberal fascism (Pasolini actually
used the term “liberal fascism” in the 1970s).

But what in the end does it matter to us—this ancient crime of the institutional Church? Even the death of suffering, zealous Paul—what does it all matter? For an intellectual like Pasolini and his generation of Italian anti-fascists, wasn’t there an alternative “faith” in scientific materialism—in Marxism? There are passages in the script that expose what Pasolini called the “hypocrisy of [institutional] Marxism,” a theme he had elaborated in Le ceneri di Gramsci (Gramsci’s Ashes) in 1957. For example, he complains that the Italian Communist Party’s culturally bourgeois intellectuals (of whom he was one), are generally divorced from the masses and from Pasolini’s beloved innocent rogues of the young petty criminals of the sub-proletariat (they don’t plunder the Treasury, after all, as do the respectable senators and politicians), from the peasants and laborers, who, unlike the bourgeoisie, still managed to live by the ministrations of human solidarity—by communism, religious or scientific.  In fact, the critique of institutional Marxism, the “party,” etc., runs parallel and is analogous to the critique of the Church—both failed to nurture a proletarian, popular culture to oppose to the hedonistic, individualistic, consumeristic, and finally anti-human ideological perversions of neo-capitalist (his word) bourgeois culture.

And here, I must bring up Gramsci, one of the major and lifelong influences on Pasolini (one of the first was Rimbaud). Figuratively facing Gramsci’s grave he implores his tutor in Gramsci’s Ashes: “Will you ask me, you unadorned dead/ to abandon this despairing/ passion for being in the world?” (Mi chiederai tu, morto disadorno,/d’abbandonare questa disperata/passione di essere nel mondo?) Antonio Gramsci (1891-1937), Marxist intellectual, political theorist, sociologist of culture, was a founding member of the Italian Communist Party and died in Mussolini’s prison.  He is best known for his theory of cultural hegemony (from the Greek, meaning “leadership”), which explains how the class in power maintains its status quo and reproduces it through its cultural institutions.  Lenin had used the term. It was an elaboration of Marx/Engels’ claim that “the ruling ideas of each age have ever been the ideas of its ruling class,” though the German Ideology, written in 1846-47, was not published until 1932 (and that in the USSR).  If Gramsci’s claim was valid, how was a proletarian revolution ever to occur if the consciousness of the proletariat was shaped exclusively by the education of bourgeois institutions? Or, how, even, could a peasant or labor society sustain the onslaught of the market’s mind-numbing  consumerism that was to lead, in his view, to an irreversible “anthropological cataclysm,” which would transform people into things, at once exploiters and exploited, victims and victimizers?  The advent in the mid-50s of the “economic boom” in Italy, the affordability of goods, especially of television, caused the instant imborghesimento (metamorphosis into bourgeois) of Italian everyday life, chronicled satirically in Federico Fellini’s film La Dolce vita, Italo Calvino’s novel, La specolazione edilizia, in Alberto Moravia’s La noia (Boredom), and Michelangelo Antonioni’s L’avventura.

Written in the hedonistic years of the 60s and in the “years of lead” of the 70s, the campaign of terrorism carried out by the Italian secret services—“the parallel state”– in collaboration with the CIA to roll back popular democracy, Pasolini’s St Paul today reads like a prophecy.  Eerily, as though seeing us in the mirror of a not-so-distant future, Pasolini describes a Paris gripped by the terror of Nazi “anti-terrorism.”  Stephen, a young partisan in the budding resistance, hardly of the age of conscription (like Pasolini’s younger brother, Guido, partisan, killed at nineteen in an ambush in 1945) is executed by the Nazis. Paul, at this stage a zealous official, in fact, an uncritical collaborator with the Nazi occupation forces, witnesses the execution of young Stephen.  He is distressed, haunted even, but does not withdraw his collaborating zeal from the Nazi occupiers.  They are the law, and he’s a lawyer.  His duty is to serve the law. “In the face of Paul,” the screenplay reads,

We see something worse than evil: we see cheapness, ferocity, the decision to be abject, hypocrisy that motivates everything in the name of the Law, of Tradition—or of God. All this cannot but render that face desperate, too.

What follows the discovery of Resistance activity and the execution of Stephen is an orgy of cruelty, stretching to the genocidal limits and beyond. Starting with a quotation,  “There was as though a signal for persecution” (Acts 6:1-8:3), Pasolini describes how the obscenity of Nazi repression is to be represented:

New archival documentary material

But this time it must be found from among the most terrible, almost unbearable to watch: arrests, raids, shootings, hangings, mass deportations, mass executions, shootings in the streets and the plazas, corpses abandoned on sidewalks, under monuments, dangling from lampposts, hanged, hooked.  Departures of the Jews for concentration camps; freight cars filled with corpses.

Add head chopping, bombs and poisonous bombs, bombed hospitals and schools. Killer drones. Bombed air-raid shelters.  Medieval-style sieges, (called sanctions) exacting the lives of 500,000 children (on record). Two, three, many Abu Ghraibs: men turned into dogs, obscene sadism
of the greatest democracy in the world. Add all this and more, and we see in the archival images of the fascist era the image of our own times.

Can anyone doubt that Pasolini’s St Paul was, indeed, a prophecy?

Luciana Bohne is co-founder of Film Criticism, a journal of cinema studies, and teaches at Edinboro University in Pennsylvania. She can be reached at: lbohne@edinboro.edu

This article first appeared in www.counterpunch.org on January 16, 2015.

A Note on the Pasolini photos by Dino Pedriali above:

While Pasolini & photographer Dino Pedriali staged some of the photos for this 1975 photoshoot, they are nonetheless a record of Pasolini presenting us with a view of himself as a writer. As St. Paul exists only via Pasolini's notes and not as a full film, it seemed appropriate to include some of them as witness to this other aspect of Pasolini's creative work - the beginnings of what he hoped would be a work in progress.

Pier Paolo Pasolini Fotografie di Dino Pedriali Publisher: Johan & Levi Editore, 2011 Language: Italian, Pages: 128, ISBN: 9788860100566 From the publisher: The book presents 78 photographs that Pier Paolo Pasolini commissioned Dino Pedriali to take over two sessions of two days each at his two houses in Chia and Sabaudia in the second week of October 1975. According to the photographer, Pasolini intended to use them in his last novel, Petrolio, which was published posthumously. Pedriali was to have met Pasolini to show him the photos on 2 November 1975, the day when the poet’s body was found on the beach at Ostia. http://eng.johanandlevi.com/scheda.php?libro=23