Pasolini at his best explores the upper middle class, in one of the key films of 1960s Italian cinema.
"Teorema" is truly an extraordinary film, as far as I am concerned the most successful film by Pier Paolo Pasolini.
A sort of strange angel dispenser of love (Terence Stamp) lands in a high-bourgeois family in Northern Italy. With his deep blue eyes he captures everyone's interest, letting them discover their true 'selves'.
The mother (Silvana Mangano) throws herself headlong into the world of the pleasures of the flesh and, not without guilt, she begins to pick up young men on the street. The father (Massimo Girotti) literally lays bare his repressed sexuality in an intense scene set in a train station. The son (Andrés José Cruz Soublette) discovers himself as an artist and through his words Pasolini exposes a beautiful concept regarding the language and expressiveness of a work of art, of any kind, as a partial representation of a concept, clear in its entirety only to the author alone. The maid (Laura Betti) discovers that she has a religious vocation and becomes a sort of healer...
All is told in the typical Pasolini way, not always to be agreed, not always clear, but always interesting and stimulating.
A praise also to very well-known actors, such as Girotti or Mangano, decidedly courageous in facing roles certainly definable at the time as 'scandalous'.
Maestro Ennio Morricone puts his touch on it, composing music with a jazzy atmosphere for the film, once again proving his versatility.
"Teorema" is truly an extraordinary film, as far as I am concerned the most successful film by Pier Paolo Pasolini.
A sort of strange angel dispenser of love (Terence Stamp) lands in a high-bourgeois family in Northern Italy. With his deep blue eyes he captures everyone's interest, letting them discover their true 'selves'.
The mother (Silvana Mangano) throws herself headlong into the world of the pleasures of the flesh and, not without guilt, she begins to pick up young men on the street. The father (Massimo Girotti) literally lays bare his repressed sexuality in an intense scene set in a train station. The son (Andrés José Cruz Soublette) discovers himself as an artist and through his words Pasolini exposes a beautiful concept regarding the language and expressiveness of a work of art, of any kind, as a partial representation of a concept, clear in its entirety only to the author alone. The maid (Laura Betti) discovers that she has a religious vocation and becomes a sort of healer...
All is told in the typical Pasolini way, not always to be agreed, not always clear, but always interesting and stimulating.
A praise also to very well-known actors, such as Girotti or Mangano, decidedly courageous in facing roles certainly definable at the time as 'scandalous'.
Maestro Ennio Morricone puts his touch on it, composing music with a jazzy atmosphere for the film, once again proving his versatility.
