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


Overview

User Rating:
7.1/10   2,291 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:
A Savage, Beautiful and Raw Medea 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 »
47 out of 51 people found the following review useful.
A Savage, Beautiful and Raw Medea, 20 September 2004
Author: gpadillo from Portland, Maine

I first saw Medea in college and was highly critical of it, finding it disappointing on almost all counts: terrible sound editing, cheap film stock, over bright lighting, bizarre, amateurish acting styles, inadequately edited, etc. Then there was the extended murder scene of Glauce and Creon going seemingly on forever, and then . . . wait; what's this? It's repeated all over again? Did someone get the wrong reel into the house?

Another ten years went by before I watched it again and after the second viewing, found myself emotionally drained, my jaw on the floor with the realization that I'd just finished a film that alternately horrified, fascinated and astonished me.

Medea is a grim, violent, film, minimally processed which only adds to its gruesome, wild rawness. This is Pasolini's Medea, not Euripedes and it is not easy viewing. Its wild, African/Middle Eastern score with the nasal bleating of women's voices in near pre-historic sounding rhythmic chant adds further to the element of being "out there" this film produces: This is about as far away from popular cinema as one can get. Medea doesn't easily compare to films of any other style or genre; not even with some of Pasolini's other work. But, if you can succumb to its hypnotic, mesmerizing pace at once both frenetic and static - you will realize this is as about as close to a hallucinatory experience one can achieve without the use of an illegal substance. Granted, not everyone wants that experience.

As Medea, Callas is simply amazing. Oddly, when the film came out she was roundly criticized for not being able to transfer the magic she so naturally gave on stage to the big screen. I will strongly disagree. The more I watch this film (which is probably several times a year for well over a decade), the more amazed I am by her performance in it. Where I, too, had first been critical of her languid weirdness, I've grown to see her commitment to the role. I've come to be riveted to her painfully expressive mask as she completely inhabits this character who is, quite literally, capable of everything (yes - everything is the right word here).

Where I was once critical of the lighting, I've grown up to realize what Pasolini did; why he chose to film at the times of day he chose, and the resulting, fascinatingly brutal and surreal luminosity that bathes the entire film and the almost palpable sense of its visual texture. Stunning. The landscapes Pasolini chose to film in are as brutal and as vital as the characters of the tale. His near excision of all spoken text ( the screenplay is nearly dialogue free) brings us into a timeless, yet somehow ancient world where all is understood without the use of verbal communication. The savage, bloody rites of sacrifices for fertility and harvest initially seem barbarous then become somehow beautiful and fascinating. Then they make one cringe with the realization of how, not so long ago, this was us.

A remarkable, savage and beautiful film.

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