Abstract/Sommario: Three years after The Gospel According to Matthew, Pier Paolo Pasolini resumed his series of classical adaptations with a savage, highly personal take on Sophocles’ ancient Greek tragedy Oedipus Rex [Edipo Re]. As his first colour feature, Oedipus Rex makes brilliant use of wildly alternating Moroccan landscapes to transpose collective myth into a particular vision that is at once tender, sensual, and wholly unsparing. The film is divided into three sections set in different eras. The ...; [Leggi tutto...]
Three years after The Gospel According to Matthew, Pier Paolo Pasolini resumed his series of classical adaptations with a savage, highly personal take on Sophocles’ ancient Greek tragedy Oedipus Rex [Edipo Re]. As his first colour feature, Oedipus Rex makes brilliant use of wildly alternating Moroccan landscapes to transpose collective myth into a particular vision that is at once tender, sensual, and wholly unsparing. The film is divided into three sections set in different eras. The opening takes place in 1920s Italy, and recounts a birth that echoes that of the director himself, the product of a beautiful bourgeoise’s affair with a military officer. The mid section depicts a time “outside of history” — it is here that the myth of Oedipus (portrayed by Franco Citti of Accattone and Coppola’s The Godfather), one of patricide and incest, plays out opposite the young man’s mother/lover (Silvana Mangano). An epilogue shot on the streets of present-day Bologna finds Oedipus playing his flute for a bustling citizenry.With its kinetic handheld camerawork and strikingly primeval costumes, Pasolini’s film rattles its art-genre framework in the enduring quest to exorcise repressive emotional forces. The Masters of Cinema Series is proud to present Pier Paolo Pasolini’s Oedipus Rex for the very first time on Blu-ray, in a Dual Format (Blu-ray + DVD) edition, and in a standalone DVD edition.
Abstract/Sommario: Written and directed by cult filmmaker Abel Ferrara (Driller Killer, Bad Lieutenant, Welcome to New York), this dark, daring drama tells the story of the fateful final days of the controversial filmmaker Pier Paolo Pasolini. Having recently finished Salò, or 120 Days of Sodom Pasolini has enraged audiences, critics and politicians with his homosexuality and the scandal that surrounds his films. Focusing on both his private and professional life, the film explores the inner-world of Pa ...; [Leggi tutto...]
Written and directed by cult filmmaker Abel Ferrara (Driller Killer, Bad Lieutenant, Welcome to New York), this dark, daring drama tells the story of the fateful final days of the controversial filmmaker Pier Paolo Pasolini. Having recently finished Salò, or 120 Days of Sodom Pasolini has enraged audiences, critics and politicians with his homosexuality and the scandal that surrounds his films. Focusing on both his private and professional life, the film explores the inner-world of Pasolini in the days before his violent death. Starring Willem Dafoe (The Last Temptation of Christ) as the great auteur, and featuring Ninetto Davoli, who acted in many of his films, Pasolini is a powerful and evocative look into the dark world of one of cinema's most controversial figures, as seen through the eyes of one of modern cinema's most astonishing and surprising directors.
Abstract/Sommario: Brutal and uncompromising, the films of controversial director Pier Paolo Pasolini have shocked and outraged audiences for decades, and their power remains undiminished to this day. Presented together for the first time, these six films stand as a testimony to his unique and untameable talents. In Theorem, a youthful Terence Stamp seduces each member of a bourgeois family. Medea features opera legend Maria Callas in a dark tale of betrayal and revenge. The Decameron, The Canterbury Tal ...; [Leggi tutto...]
Brutal and uncompromising, the films of controversial director Pier Paolo Pasolini have shocked and outraged audiences for decades, and their power remains undiminished to this day. Presented together for the first time, these six films stand as a testimony to his unique and untameable talents. In Theorem, a youthful Terence Stamp seduces each member of a bourgeois family. Medea features opera legend Maria Callas in a dark tale of betrayal and revenge. The Decameron, The Canterbury Tales and Arabian Nights from the bawdy 'Trilogy of Life', all with scores by the legendary Ennio Morricone. And Pasolini's final, shocking film, Salò, or The 120 Days of Sodom, sees him pushing his art to extremes.
[Roma] : Ripley's Home Video ; [Pordenone] : Cinemazero, c2006
Abstract/Sommario: Il termine fotoromanzo, associato a un film "maledetto" come il Salò di Pasolini, sembra incongruo e quasi inopportuno. E invece a me pare assolutamente appropriato, perché di un foto-romanzo si tratta. Con Federica Lang abbiamo rivisitato il piccolo tesoro delle foto di scena di Deborah Beer (impeccabili sul piano della fedeltà e della qualità) e abbiamo creato una sorta di sintesi dell'ultima opera di Pasolini: sostituendo le immagini fisse alle sequenze cinematografiche. Ma l'archiv ...; [Leggi tutto...]
Il termine fotoromanzo, associato a un film "maledetto" come il Salò di Pasolini, sembra incongruo e quasi inopportuno. E invece a me pare assolutamente appropriato, perché di un foto-romanzo si tratta. Con Federica Lang abbiamo rivisitato il piccolo tesoro delle foto di scena di Deborah Beer (impeccabili sul piano della fedeltà e della qualità) e abbiamo creato una sorta di sintesi dell'ultima opera di Pasolini: sostituendo le immagini fisse alle sequenze cinematografiche. Ma l'archivio di Gideon Bachmann conteneva anche alcune preziose testimonianze (filmate e sonore) dell'autore, che abbiamo posto a commento del nostro fotoromanzo. Arrivando, io credo, a una rilettura inedita, assolutamente attendibile, di uno dei film più sconvolgenti degli anni settanta. Dalla quale emerge, potente, la spietata analisi pasoliniana di una società italiana sempre in bilico sulla voragine del fascismo. Il suo grido d'allarme fu strozzato la notte del 2 novembre 1975, ma continua ad arrivarci, nitido e straziante, a trent'anni di distanza. (Giuseppe Bertolucci)
Roma : Il Fatto Quotidiano ; [Roma?] : Aliberti editore, 2011
Abstract/Sommario: Iniziate a guardare La Rabbia come se fosse un reperto di un altro tempo. Di fatto lo è. Oggi che gli arrabbiati irrompono in streaming e i poeti sembrano il cascame di un passato che non tornerà, riascoltare Pasolini e Guareschi in lotta attraverso immagini e riflessioni restituisce tutto il tempo che è passato, la distanza di una intera epoca.
