With such disruptive devices as intercutting color and black-and-white footage, parodying silent-film antics, and inserting scenes of youths dancing the twist, Pasolini both affirms the classical grandeur of cinematic modernism and conveys his sense of a time out of joint.
If he were to revisit his classical, choreographic elements further, these adventures might be as memorable for their distinct dancing as they are for their surrounding theatrics.