In the early hours of the night of Sunday 2 November 1975, a carabinieri patrol on duty on the Ostia seafront stopped a car going the wrong way, Pino Pelosi was driving. At dawn near the Ostia waterway, the lifeless body of Pasolini was found by some residents, tortured and almost unrecognizable for the blows suffered. A heinous crime for which they accused Pelosi, indicating a sexual motive. Pasolini was certainly not the victim of a single person, nor a brawl at the height of a banal quarrel in a mere homosexual affair, but of several people who massacred the poet in that muddy space of Ostia. And there were at least two cars involved, not just Pasolini's Alfa, which, by the way, could not even be the real murder weapon, since it had no traces of dents at the point of a collision with the victim's ribcage. The car that killed Pasolini, did not do so in a hurry to escape as the accused Pino Pelosi said, who in 2005 retracted his testimony on TV, confessed that he was not the murderer, but that he kept silent in retaliation against his family.Pelosi spoke of three or more people, and reported to the investigators the whole dynamic of the crime, made up of repeated attacks, beating, attempted escape and crushing the helpless victim. Assassins arrived in a car with Catania plates, which he said spoke with an accent "Calabrian or Sicilian" and, during the massacre, they would have repeatedly railed against the poet. So it wasn't a crime of passion? Thirty years after his death, together with Pelosi's retraction, the testimony of Sergio Citti, a friend and colleague of Pasolini's, about the disappearance of copies of the last film Salò and about a possible meeting with gangsters to deal with the restitution has emerged. Sergio Citti died of natural causes a few weeks later. A much more disturbing hypothesis links it to the power struggle that took shape in those years in the petrochemical sector, between Eni and Montedison, between Enrico Mattei and Eugenio Cefis. Finally, the uproar that had caused the announcement of the discovery of Chapter XXI of Petrolio, perhaps stolen from Eur in the Pasolini house after his death, and which could contain the key to the murder. Which key? The role of Cefis, Eni's powerful ras after Mattei, and then Montedison, a role that Pasolini was investigating by collecting explosive material and sewing up a thesis: Cefis had Mattei eliminated in a fake plane crash in 1962 (an attack) to succeed him and change his oil policy and cut off the role of the nation-state industry, within the framework of a pact with the transnational potentates of the global economy. And finally to stabilize the Republic from above, with massacres and plots. All this is written in Petrolio, the novel published posthumously in 1992, on which the poet worked before his death. Pasolini, then, had his nose in deadly things? What did he understand? And why was the investigation so sloppy that he didn't protect the crime scene, didn't listen to witnesses and left the alleged killing machine in a garage without protecting it and without finding the clues in it? Why was there a bridge in that car that was not Pasolini's, with an insole worn by the poet? And whose footprint was the footprint on the roof of the Alfa?In conclusion, it was not a cursed and literary affair or a homosexual crime, hypocritically buried by the Italy of the time as the figure of an obligatory end for someone like Pasolini. But of a piece of a much larger story, not at all retrological, intertwined with the rebalancing of the powers of the time and which continues. A story to be clarified until the end, without comfortably thinking that it is water under the bridge. The truth and the debt to honour to a great civil poet, who told us many things in advance without being listened to and even mocked in death, demands it. The rich heritage he left us counts among other things over 20 films, theatre texts, collections of poems, translations of Greek and Latin classics, essays. The film Pasolini, an Italian crime by Marco Tullio Giordana, is dedicated to the thriller of death and the subsequent trial.
https://en.wikipedia.org/wiki/Pier_Paolo_Pasolini
Amazing