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Arabian Nights (1974)
"Il fiore delle mille e una notte" (original title)

 -  Comedy | Drama | Fantasy  -  20 June 1974 (Italy)
6.9
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Ratings: 6.9/10 from 3,928 users  
Reviews: 28 user | 34 critic

In this film inspired by the ancient erotic and mysterious tales of the Middle East, the main story concerns an innocent young man who comes to fall in love with a slave who selected him as... See full summary »

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Title: Arabian Nights (1974)

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Cast

Cast overview, first billed only:
...
Aziz
...
Franco Merli ...
Tessa Bouché ...
Aziza
Ines Pellegrini ...
Zumurrud
Margareth Clémenti ...
Aziz's mother (as Margaret Clementi)
Luigina Rocchi ...
Budur
Alberto Argentino ...
Prince Shahzmah
Francesco Paolo Governale ...
Prince Tagi
Salvatore Sapienza ...
Prince Yunan
Zeudi Biasolo ...
Zeudi
Barbara Grandi
Elisabetta Genovese ...
Munis (as Elisabetta Vito Genovese)
Gioacchino Castellini
Abadit Ghidei ...
Princess Dunya
Edit

Storyline

In this film inspired by the ancient erotic and mysterious tales of the Middle East, the main story concerns an innocent young man who comes to fall in love with a slave who selected him as her master. After his foolish error causes their separation, he travels in search of her. Various other travelers who recount their own tragic and romantic experiences include stories of a young man who becomes enraptured by a mysterious woman on his wedding day, and a man who is determined to free a woman from a demon. Written by scgary66

Plot Summary | Add Synopsis

Plot Keywords:

search | demon | slave | love | bell | See more »

Taglines:

Pier Paolo Pasolini's Tales of the Arabian Nights

Genres:

Comedy | Drama | Fantasy

Certificate:

X | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

Release Date:

20 June 1974 (Italy)  »

Also Known As:

Arabian Nights  »

Filming Locations:

 »

Box Office

Gross:

SEK 545,983 (Sweden)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (premiere)

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Italian censorship visa # 64574 delivered on 11-5-1974. See more »

Goofs

When Aziz sees Budur for the first time, the moon is waxing or waning. When he returns after two days to sit under her window, the moon is full. See more »

Crazy Credits

"Truth lies not in one dream, but in many." - Arabian Nights See more »

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User Reviews

 
At least it's different...
4 December 2006 | by (The Hague, Netherlands) – See all my reviews

'Il Fiore delle mille e una notte', or 'Arabian Nights', is Pier Paolo Pasolini's final film from his "trilogy of life" and his second to last film in general. His last of course is 'Salo, or 120 Days of Sodom', the controversial first film from his "trilogy of death".

With 'Arabian Nights' Pasolini combines a couple of stories from the book 'A Thousand and One Nights' into one story, although the film itself still feels very episodic. All parts of the story deal with love, or actually I should say lust, ending in sex. Especially the penis gets enough screen time here, it might as well be the leading character. The sex scenes themselves are, in my opinion, not very sensual or erotic (although they admittedly are when you compare them to such scenes in any other Pasolini film) which is not necessarily a bad thing, but it becomes exactly that when more than half the movie exists out of them.

On the other hand the film is pretty entertaining, mostly for its oddness. That again, is something we see in almost any other Pasolini film. His distant approach adds to that feeling, especially when he shows violent images. One might not expect them in a film that arguably celebrates love and sex. Another factor for the oddness is the terrible acting, especially from the men. Maybe good acting is impossible for them here since Pasolini presents them as a bunch of whiners who would do anything for love. Of course, once again, with love I mean sex. The Italian language in the Eastern setting is another thing that feels pretty weird as well. All these elements add to the oddness which makes the film more entertaining than it probably should have been.

I have to conclude with saying that I sort of admire Pasolini. I think only his 'Il vangelo secundo Matteo' can be considered as a truly great film, mostly since his approach is the distant one. I think that is a good thing when it comes to a religious film like that. that approach in his other films is not always the right one, but it is one aspect of why his films are different, often daring. Even when not much is happening, or when we have no clue what is happening, or when we normally would not care that much, Pasolini keeps it kind of interesting.


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