IMDb > Medea (1969)
Medea
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Medea (1969) More at IMDbPro »

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Overview

User Rating:
7.1/10   2,254 votes »
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View company contact information for Medea on IMDbPro.
Release Date:
27 December 1969 (Italy) See more »
Genre:
Tagline:
It's a movie about a woman who beheads her brother, stabs her children, and sends her lover's wife up in flames. For Maria Callas, it's a natural.
Plot:
To win the kingdom his uncle took from his father, Jason must steal the golden fleece from the land of barbarians... See more » | Add synopsis »
Plot Keywords:
NewsDesk:
(20 articles)
Meryl Streep To Play Opera Legend Maria Callas In HBO Film
 (From Moviefone. 18 June 2014, 8:00 AM, PDT)

Theater Review: Try To Avoid Too Much Sun
 (From Vulture. 18 May 2014, 7:00 PM, PDT)

Casting news for Atlantis series 2
 (From Den of Geek. 4 April 2014, 12:25 AM, PDT)

User Reviews:
Ecstatic moon See more (22 total) »

Cast

  (in credits order)

Maria Callas ... Medea

Massimo Girotti ... King Kresus / Creonte
Laurent Terzieff ... Centaur
Giuseppe Gentile ... Jason
Margareth Clémenti ... Glauce (as Margareth Clementi)
Paul Jabara ... Pelias
Gerard Weiss ... Second centaur
Sergio Tramonti ... Apsirto, Medea's brother
Luigi Barbini ... Argonaut
Gian Paolo Durgar (as Gianpaolo Duregon)
Luigi Masironi
Michelangelo Masironi
Gianni Bradizi
Franco Jacobbi
Annamaria Chio ... Wet-nurse (as Anna Maria Chio)

Piera Degli Esposti
Mirella Pamphili (as Mirella Panfili)
Graziella Chiarcossi ... Glauce's maid
rest of cast listed alphabetically:
Maria Cumani Quasimodo ... (uncredited)
Vladimir Julukhadze ... (uncredited)
Giorgio Trombetti ... (uncredited)

Directed by
Pier Paolo Pasolini 
 
Writing credits
Pier Paolo Pasolini (written by)

Euripides  play (uncredited)

Produced by
Klaus Hellwig .... associate producer
Pierre Kalfon .... associate producer
Franco Rossellini .... producer
 
Cinematography by
Ennio Guarnieri (director of photography)
 
Film Editing by
Nino Baragli 
 
Production Design by
Dante Ferretti 
 
Costume Design by
Piero Tosi 
 
Makeup Department
Maria Teresa Corridoni .... hair: Il truco della Sig.ra Callas e le pettinature da
Marcella De Marzi .... hair stylist
Goffredo Rocchetti .... wigs: Il truco della Sig.ra Callas e' stato curato da
Romolo Sensoli .... makeup artist
 
Production Management
Fernando Franchi .... production manager
 
Second Unit Director or Assistant Director
Carlo Carunchio .... assistant director
Sergio Citti .... assistant director
 
Art Department
Nicola Tamburo .... construction coordinator (as Nicola Tamburro)
Italo Tomassi .... painter (uncredited)
 
Sound Department
Carlo Tarchi .... sound
 
Camera and Electrical Department
Pasquale Rachini .... assistant camera
Sergio Salvati .... camera operator
Mario Tursi .... still photographer (as Mario Trusi)
Giorgio Urbinelli .... assistant camera
 
Costume and Wardrobe Department
Piero Cicoletti .... assistant costume designer
Gabriella Pescucci .... assistant costume designer
 
Music Department
Elsa Morante .... musical collaborator
 
Other crew
Marina Cicogna .... presents
Pino Colizzi .... voice dubbing: Giuseppe Gentile (uncredited)
Enrico Maria Salerno .... voice dubbing: Laurent Terzieff (uncredited)
Rita Savagnone .... voice dubbing: Maria Callas (uncredited)
 

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Additional Details

Also Known As:
Runtime:
Italy:110 min
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:16 | Australia:M | Belgium:KNT | Finland:K-12 | Italy:VM18 | Spain:13 | Spain:T (DVD re-rating) | UK:AA (original rating) | UK:PG (video rating) (1990)
Company:

Did You Know?

Trivia:
According to Richard Burton's diaries, Maria Callas very much wanted him to play Jason. Callas was despondent after her long-time lover, shipping tycoon Aristotle Onassis, had dumped her for Jacqueline Kennedy, and while Burton was sympathetic, he declined the role, thinking it "thankless".See more »
Goofs:
Revealing mistakes: When Jason speaks to the two centaurs, there is a mismatch in their shadows in the middle of the screen, indicating that the image is a composite.See more »
Quotes:
King Kresus:You are a barbarian from a foreign land, different from us. We don't want you among us. It is impossible to see into the depths of one's soul.See more »
Movie Connections:
Referenced in Medea (2013)See more »

FAQ

Why do we see two versions of Glauce's death?
See more »
6 out of 6 people found the following review useful.
Ecstatic moon, 8 June 2013
Author: chaos-rampant from Greece

I recommend this to any adventurous viewer, but on conditions.

Viewers who generally favor the clean, painterly versions of myth will find this amateurish, too slow and too cryptic in its ritual. A few even seem to believe that the repetition of the murder of Glauce and Creon is there by an editing mistake, imagine! But that's how sloppy it seems.

Viewers who want the cutting conflict of the original play, will also be disappointed. There is a bit of conventional Medea in the latter stages of the film, but most of it is filmed in hugely elliptical swathes, so the concrete despair and drama all but evaporate in the air.

It is a marvelously flawed piece to be sure, an appealing quality to me; that is not the same as being sloppy as a result of ignorance, on the contrary it shows an openness to imperfection, adventure and discovery. And this is a film about all three in how we watch this myth, but in what way?

Let's see.

A significant point behind the exercise, revealed in the opening scene where the centaur lectures a young Jason on the purpose of myth, is that we have forgotten what is vital in the stories we tell, the rituals we enact. Scholarly talk of ritual dance or meditation is as removed from the purpose of either as can be, obvious enough. This is certainly true of so many Hollywood films (and Cinecitta of course), and not just of the mythical or quasi- historical variety. Oh they may excite within narrow limits of the action, but..

So many are filmed in the same way as everything else, they do not transport us, which for me is a prerequisite of every film but particularly mythic narrative. The dresses and headgear change from the norm, but the world and drama conform to a trite familiarity of other films. Though it takes place in strange, different times, a film like Ben Hur is filmed as static affirmation of visual and narrative norms; never more apparent than in the scenes with Jesus, presenting the passions in a stagy, painterly way we associate as real because the same images have been repeated for so long—say, the Crucifixion. Even Scorsese fell foul of this in both his Jesus and Buddhist films.

So instead of giving us a vital presence in that world that will awaken a direct curiosity to know, they make us a dull spectator from a safe distance. We duly admire the perfection of the art and platitude of the lessons, the exact opposite of the nature of that story in particular, and spiritual insight in general. We see the mundaneness of the sacred, and not the opposite which is the spiritual essence—if we can't see transience in the traffic of Saturday night party-goers and can only read it from a Zen book, we've wasted our time.

It seems this was in part why Pasolini undertook his Gospel film in the first place, show a world we know from fixed images with a real gravity that will invigorate a sense of intense, spiritual curiosity—the storylessons were the same, what changed was the air around the story.

This is carried here. The point is that myth (by extension: the narrative and cinematic ritual) can only matter, be truly ecstatic, when it is really 'real' (not the same as realistic), which is to say something can only be vital when it escapes the routine of mind, and becomes 'alive' in the moment of watching. This is at the heart of the philosophical mind problem: structure does not begin to account for experience.

So this is what we have here. All the effort goes to loosening up our sense of 'realistic' routine reality; the music is a mixture of Buddhist throat chanting, Japanese shamisen, Amerindian ululation, African tribal drums; the dresses and gear a mixture of Slavic, Maghrebi, Greco-Roman origins. At this point, you'll either think of it nonsensical or begin your immersion beyond sense.

The point is that this is a hazy world a little outside maps and time, undefined yet. But within this world, Pasolini creates an experience of intense 'being there'—in his camera, in his chosen places and fabrics, in the textures of light, it feels like we are present. Oh it is still an abstract ritual, but one that has sense, and that sense is carried entirely in the air of the film, not in any spoken conflict.

Further within the ritual, we have Medea's own magical timeflow of conflicting urges and dreams, channeled by Callas channeling her own anxieties with fame and husband, inseparable from all else. Her presence is so intense, it may be creating imaginary madness in a key scene—this seems to be why we see the burning Glauce in the dream but not out of it.

The bit with the centaur may be silly, but that is Pasolini telling us a bit about the film he's made. The rest is so, so wonderfully conceived. The opening with the boy touching the sacredness of nature in every small thing is like out of Malick, 25 years before. During this time, Pasolini was perhaps the only one (with Parajanov) who could rival Tarkovsky in his cinematic flow.

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