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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(screenplay)
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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:

Unrated | 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:

(Westrex Recording System)

Color:

| (Eastmancolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

In one scene, the father reads from Leo Tolstoy's "The Death of Ivan Ilyich". Later in the garden, the visitor reads from the poetry of Arthur Rimbaud. See more »

Quotes

Lucia, the mother: Who is that boy?
See more »

Connections

Referenced in Muscle (1989) See more »

Soundtracks

Tears for Dolphy
(uncredited)
by Ted Curson
See more »

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User Reviews

Pasolini Under Glass
4 November 2005 | by (United States) – See all my reviews

It's not that Teorema is a bad film, it's just that it's an inconsequential one. There isn't a second of it that really seems to matter; the action is trifling, like farce without the anarchic energy, and the ideas it's supposed to be exploring are not worth wasting time over (at least not the way they're presented here). Pasolini never had much sense of structure, at least not in any conventional way, but this didn't matter as long as he was being primal; Teorema, alas, has little of the primitivistic pull of Oedipus Rex, or Porcile, or the masterful Gospel According to St. Matthew. Its story of an enigmatic, sexually magnetic entity - you don't know whether he's human, or a ghost, or Satan, or what the hell - breaking up the harmony of a bourgeois household feels, except for the odd bit of naughtiness, like the stuff of dull high-class European cinema, the kind of art-film that appeals to librarians. Normally it wouldn't matter that Pasolini does a miserable job of establishing any sense of milieu, or giving us any background on his characters - he was never the kind of director who depended on normal narrative technique - but Teorema feels so sloppy, so unconcerned with helping the viewer get their bearings, that it actually becomes annoying (one might be tempted to re-start the movie just to make sure their DVD player didn't accidentally skip a scene, like the one where the director clues us in on what the hell he's trying to do). The mystery of movies like Oedipus Rex and The Gospel depends largely upon their setting, the uncanny talent Pasolini has for making us feel like we're witnessing some alien world, but Teorema, being set entirely in modern times, has no such quality, and just feels kind of distant and unengaged. The neo-realist grit of Accattone has been replaced by this dreamy, abstract quality, which is meant apparently to convey the hermetic nature of bourgeois life, to counterpoise the sudden, irrational actions of the characters after they've been infected with the ghost/devil/god's sexual craziness, but a better idea might have been to make a film about the bourgeois where the tone is NOT what you would expect, where the primal energies of the film-making act as counterpoint to the emotionally desolate lives of the characters. Pasolini reining himself in is not what we want - we want the mock-cinema-verite strangeness of The Gospel, the psychological rawness of Oedipus Rex, the cruddy realism of Accattone, the down-to-earth bawdiness of The Decameron. No filmmaker depended more on his ability to churn up the inexpressible than Pasolini, but in Teorema he's trying deliberately not to churn anything up, and the result is something so bereft of character, of life-essence, that it barely seems to exist.


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