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Kaos (1984)

7.9
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Ratings: 7.9/10 from 1,421 users  
Reviews: 15 user | 8 critic

Five stories by Luigi Pirandello set in turn-of-the-century Italy.

Writers:

(stories), , 2 more credits »
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Title: Kaos (1984)

Kaos (1984) on IMDb 7.9/10

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4 wins & 6 nominations. See more awards »
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Cast

Cast overview, first billed only:
Margarita Lozano ...
Mariagrazia (segment "L'altro figlio")
Orazio Torrisi ...
Comizzi (segment "L'altro figlio")
Carlo Cartier ...
Il giovane dottore (segment "L'altro figlio")
Biagio Barone ...
Salvatore (segment "Requiem")
Laura Mollica ...
La ragazza / Francesca (segments "L'altro figlio" and "Requiem")
Salvatore Rossi ...
Il patriarca (segments "L'altro figlio" and "Requiem")
Franco Scaldati ...
Don Sarso (segment "Requiem")
Pasquale Spadola ...
Il barone (segment "Requiem")
Claudio Bigagli ...
Batà (segment "Mal di luna")
Massimo Bonetti ...
Saro (segments "Mal di luna" and "Colloquio con la madre")
Enrica Maria Modugno ...
Sidora (segment "Mal di luna")
Anna Malvica ...
La madre (segment "Mal di luna")
Regina Bianchi ...
Madre di Pirandello (segment "Colloquio con la madre") (as Régina Bianchi)
Laura De Marchi ...
Nonna di Pirandello (segment "Colloquio con la madre")
Giovanna Taviani ...
Madre di Pirandello (segment "Colloquio con la madre")
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Storyline

The film consists of four stories plus epilogue, set in 19th-century Sicily. THE OTHER SON - A mother spends her life waiting for news from her two sons (emigrated to America) while ignoring her third, because he is the reincarnation of the bandit who raped her. MOON SICKNESS - a newly-wed peasant girl discovers that her husband goes mad every full moon. She arranges for a male friend to protect her, but they end up in bed together just as the moon emerges from behind a cloud. THE JAR - a rich landowner hires a master craftsman to repair a giant olive jar, but the craftsman gets trapped inside. REQUIEM - villagers band together in an attempt to force their landlord to let them bury their dead. CONVERSATIONS WITH MOTHER - the writer Luigi Pirandello talks with his aged mother about a story he always wanted to write, but which he never managed to capture in words. Written by Michael Brooke <michael@everyman.demon.co.uk>

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | Romance

Certificate:

R | See all certifications »
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Details

Country:

|

Language:

Release Date:

14 February 1986 (USA)  »

Also Known As:

Chaos  »

Box Office

Gross:

$325,717 (USA)
 »

Company Credits

Production Co:

, ,  »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Quotes

Zi' Dima: It's not my hunch that's big! It's the mouth of your jar that's narrow!
See more »

Connections

Edited into Lo schermo a tre punte (1995) See more »

Soundtracks

Arietta 'L'ho perduta'
from opera "Le nozze di Figaro"
Written by Wolfgang Amadeus Mozart
See more »

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User Reviews

 
Life, death, and everything
28 February 2012 | by (bangkok) – See all my reviews

Four Pirandello stories and an original epilogue form a portrait of Sicily, linked by the flight of a raven - bird of ill omen - over the landscape with a tinkling bell around its neck. The film-making is perfect in its calm effortlessness and quiet simplicity, always finding the essence of a situation. Often, the camera makes small, revealing horizontal pans, then pans back and reveals again, as the first subject has changed.

Every episode is infused with a sympathy for whatever simple inescapable sorrow everyone is afflicted with - peasants, grandees, men in uniform - which often seems to seep into them from the land. Even the happiest character in the film - a lawyer - is in bed recovering from an operation. Each story has layers of meaning and a melancholy twist - even the comedic episode finishes on a note of tragedy.

The first story opens as the country is being drained of its men - they're off the America - leaving the parched landscape to the sullen women. An interesting moral dilemma is raised: how if a woman is raped by her husband's murderer and has a child which grows up to look exactly like its father? The bitter irreconcilability stands for the rift between the old land and the new.

In the second story, possibly the finest, a newly married woman discovers that her husband goes berserk, wolf-man like, every full moon. She uses the occasion as an excuse to bring her former lover to her room while her husband rages outside. There's a step forward in the moral arc of the film - reconciliation is possible when you come to understand someone else's suffering.

The Jar is remarkable, not so much for the diabolic overtones of the hunchback who gets trapped inside the giant olive jar he has just mended, as for the surprising bitterness of the landlord whose success is made mockery of by thoughts of death.

Death itself is the subject of the fourth story in which an old man sits over his grave and literally waits for it to come in order to lay claim to the land he will be buried in. Since the land, on which generations become established, becomes in effect composed of the dead, there is a subtle moral question of a man's rights here, suffused with ghostly mysticism - an issue we have lost sight of in the modern world.

The Epilogue is almost too sublime to describe. It may be the most perfect, most meaningful 20 minutes ever put on film. In it, Pirandello himself, weary now of life, travels to his childhood home in Sicily, drawn by the spirit of his mother. She tells him again the story of the journey into exile by boat when she was a girl, only this time filling in some crucial forgotten detail. The span of time held in our mind here is breathtaking - backwards from an old woman long dead who is reflecting on the memory of an intense childhood experience; forwards to her son, now old himself and aware of his own impending death, trying to capture some meaning in it all that is the spark of life, knowing that this spark itself will soon go out. The climax to his mother's story - cascading down a white cliff of powdery white pumice into an azure sea is an image so beautiful, so mixed of elation and despair, that no more words in the film are possible, nor necessary.


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