Pasolini coined the term "ideo-comic" to describe this unusual film that is at once a political critique and a delightful, offbeat comedy. It is an allegorical tale following the on-the-road exploits of three characters: a father, his son, and a talking crow who recounts Marxist fables and philosophies. Father and son are jettisoned into the thirteenth century to serve St. Francis, a true man of the people, by teaching faith to the arrogant hawks, humble sparrows, and "dried up Christians." Pasolini, who rarely used professional actors, and when he did, chose them "for what they really are," was a great admirer of Totò. He cast the famous clown and pantomimist as the wistful, awkward father. As for the bird, Pasolini stated, "The crow is extremely autobiographical." Pasolini employs a Keaton-like visual and physical slapstick, an experimental wackiness that has its narrative place as well. But as in his other films, Pasolini's country roads and idylls also seem to reverberate with longing in this film that begins with the question, "Where is mankind going?" and ends by eating crow. (JB)