The second segment of Pigsty, as written by Pasolini, “takes place in the industrialized part of Germnany, at Godesberg, near Cologne, which is where Adenauer used to live, in the villa of a big German industrialist like Krupp, say—one of the old industrial families.” Pathologically perverse protagonist Julian (French actor Jean-Pierre Léaud, who is best known for playing François Truffaut’s filmic alter-ego “Antoine Doinel”) is the son of a flagrantly evil ex-Nazi industrialist with an anachronistic Uncle Adolf mustache named Signor Klotz (Alberto Lionello). Julian is a passive nihilist and cowardly cuckold of sorts who has next to nil interest in politics, business, or women, but he likes flying kites as an intrinsically immature 'mensch' who engages in infantile escapism, yet most of all, he loves riding dirty in his father's pigpen as a pathological pig porker, but no one knows about his swinish secret. Although he has no interest in touching her, Julian has a leftist girlfriend named Ida (played by Anne Wiazemsky, who also starred in Pasolini's Teorema) who futilely attempts to get her beau involved in revolutionary politics as a member of the 1968 German student movement. After finally confessing his subversive vice for swine, Julian falls into a catatonic state and Ida and the boy’s mother (Margherita Lozano) try to figure out the source of his sickness and seemingly split-personality. Meanwhile, Julian's father explains to his wife while in bed that, "The days of Grosz and Brecht aren't over...I could have been drawn by Grosz in the form of a sad pig," but the industrialist's fears are in vain as he essentially has nothing to worry about because, aside from kraut commie artists George Grosz and Bertolt Brecht being dead, the wealthy degenerate can sleep safely knowing, as he says himself, "Germany!...What a capacity to digest!...And what a capacity to defecate!...Nobody more than us Germans!...Over the heart of our Puritan sons!"
Indeed, while Mr. Klotz devours Teutonic kultur (filling his majestic mansion with antique furniture and renaissance paintings) and industry, his son stands by passively and sexually services swine. When not playing an angelic rendition of Horst-Wessel-Lied (the co-national anthem of the Third Reich) on his antique harp, Signor Klotz confides in his slavish servant Hans Günther (played by Italian auteur Marco Ferreri), a name most likely in reference to real-life National Socialist eugenicist Hans F. K. Günther, and verbally battles his arch-enemy Herdhitze – the pseudonym of a man whose real surname is Hirt and who gassed tons of Jews and collected the skulls of “Bolshevik Jew commissars” during the Second World and received “plastic surgery, Italian style” to hide his true identity. After making a toast to “Jews and Pigs,” Klotz and Hirt-Herdhitze decide that their mutual blackmail schemes against each other cancel each other out, thus they agree to merge their industrial empires (a scene Pasolini stated was a reference to the merger of Montecatini chemical works and Edison electric company, which resulted in the first big Italian industrial conglomerate). After awakening like a somnambulist, Julian enters the pigsty for the final time and not long after, Signor Klotz and his compatriots get the news from a group of refined proletarians that the sole male heir to the Klotz empire has been slopped up by swine, but are told to speak, “not a word to a soul” about the young man’s death-by-sow as passive and silent spectators of history. As Pasolini wrote, "I identify also with Jean-Pierre Léaud (eaten by the pigs, cannibalized rather than a cannibal)—ambiguity, fleeting identity, and everything which the boy says in that long monologue to his girl friend who then leaves."
Although seemingly anti-Teutonic in persuasion, Pigsty was described by Pasolini as follows: “The explicit political content of the film has its subject, as its historical situation, Germany. But the film is not about Germany, but about the ambiguous relationship of old and new capitalism. Germany was chosen as a way to illustrate a case. The implicit political content of the film, instead, is a desperate mistrust of all historical societies: Thus it is a film of apocalyptic anarchism.” In a sense, Pigsty is Pasolini’s “2001: A Space Odyssey” in that, aside from being rather arcane and exceedingly enigmatic like Kubrick’s epic sci-fi masterpiece, it chronicles the (de)evolution of humanity from a cannibalistic anarchic savage to a meticulous and materialistic murderer of the authoritarian kind who has assembled an industrial line form of death and cultural destruction. Of course, where Kubrick arguably hints at a “great new beginning” for mankind with the star-child featured at the conclusion of 2001: A Space Odyssey (1968), Pasolini foresees a deleterious post-cultural dystopia where man eats man via technological industry and quite figuratively shits him out. In fact, the poet wrote the following regarding the meaning of the film: “The simplified message of the film is this: society, every society, devours both its disobedient sons and the sons who are neither obedient nor disobedient. The sons must be obedient, and that’s that…” Of course, as someone whose father, Carlo Alberto Pasolini, saved the life of Benito Mussolini in 1926 when 15-year-old anarchist Anteo Zamboni's attempted to assassinate the Duce and thus incidentally securing the fascist reign for nearly two more decades, gay Marxist Pasolini was most certainly a disobedient son, yet, quite ironically, it would be his Republican partisan brother Guido who was killed by a bunch of cannibalistic Communists. Before he was executed, Guido Pasolini apparently shouted to his commie captors, “the only justice Communists knew was a bullet in the back of the head.” It seems that Pier Paolo Pasolini was in denial about the fact that the political persuasion he actively promoted for what would be most of his life was responsible for more death and destruction during the the 20th Century than both fascism and capitalism combined, as well as the “horrible universe” he wrote of, but, of course, while communism has essentially collapsed in Europe, the sort of culture-distorting cannibalistic capitalism the director esoterically depicted in Pigsty has only gotten all the more piggish.
In short, where is Pasolini we need him?!