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Teorema (1968)

7.2
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Ratings: 7.2/10 from 6,280 users  
Reviews: 58 user | 58 critic

A strange visitor in a wealthy family. He seduces the maid, the son, the mother, the daughter and finally the father before leaving a few days after. After he's gone, none of them can ... See full summary »

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Title: Teorema (1968)

Teorema (1968) on IMDb 7.2/10

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Edit

Cast

Complete credited cast:
...
Lucia, the mother
...
...
Paolo, the father
...
Odetta, the daughter
Laura Betti ...
Emilia, the servant
Andrés José Cruz Soublette ...
Pietro, the son
...
Angelino - the Messenger
Carlo De Mejo ...
Boy
Adele Cambria ...
Emilia - the second servant
Luigi Barbini ...
Boy at the station
Giovanni Ivan Scratuglia ...
Second boy (as Ivan Scratuglia)
Alfonso Gatto ...
Doctor
Edit

Storyline

A strange visitor in a wealthy family. He seduces the maid, the son, the mother, the daughter and finally the father before leaving a few days after. After he's gone, none of them can continue living as they did. Who was that visitor ? Could he be God ? Written by Yepok

Plot Summary | Add Synopsis

Taglines:

There are only 923 words spoken in "Teorema" - but it says everything!

Genres:

Drama | Mystery

Certificate:

See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

7 September 1968 (Italy)  »

Also Known As:

Teorema  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (cinema release) (1971)

Sound Mix:

Color:

| (Eastmancolor)

Aspect Ratio:

1.85 : 1
See  »
Edit

Did You Know?

Trivia

Second part of Pier Paolo Pasolini's "Mythical Cycle" also including Oedipus Rex (1967), Porcile (1969) and Medea (1969). See more »

Connections

Referenced in El Santo (2015) See more »

Soundtracks

Tears for Dolphy
by Ted Curson
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
surprisingly trite
10 May 2005 | by (United States) – See all my reviews

This is Pasolini's primary anti-bourgeoisie film and is sort of a complementary companion of Luis Bunuel's "The Discreet Charm of the Bourgeoisie." While Bunuel's film attacks the European post-war middle class (slightly different from America's middle class, though just as apathetic and selfish) with mockery, humiliation, and eventually destruction, Pasolini takes a more soulful route, revealing the hidden desires of a class stifled by social dogma and propriety. Rather than turn them into effigy, he allows them to have epiphanies, realizing their inner hollowness, and taking different paths to self-fulfillment. "Teorema" means "theorem," and in this case, the mysterious, beautiful stranger embodied by Terrence Stamp offers proof of a certain Italian bourgeois family's misgivings. Pasolini here offers a lucid statement, less political than Bunuel, but just as poetic. His execution, however, is dry and hokey, as Stamp encounters each family member almost mathematically. While the actors provide genuine emotion (particuarly in facial expressions, which Pasolini, in his entire body of work, has shown overwhelming appreciation for), the structure of the film is so tight that he almost sucks the life right out of his message. It's a curious film, though, not completely lacking in entertainment value. In a way, it plays out like a sonnet or other tightly structured poem type. Recommended is "Porcile," made by Pasolini, with similar themes, but presented more organically.


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