In pre-war Italy, a young couple have a baby boy. The father, however, is jealous of his son - and the scene moves to antiquity, where the baby is taken into the desert to be killed. He is ... See full summary »
Having renounced her ignominious past, a former streetwalker reunites with her son. However, an extortion scheme endangers her aspirations for a decent bourgeois life. Can she protect him from the same snares that wounded her youth?
Pier Paolo Pasolini
After his quest to retrieve the fabled Golden Fleece, Jason returns to Greece with the powerful sorceress, Medea. However, when the king banishes her, it's only human that Medea plots her furious revenge. Can they escape her wrath?
Pier Paolo Pasolini
Ancient Arabia. A youth is chosen by a beautiful slave girl to be her new master; she is kidnapped and they must search for each other. Stories are told within stories; love, travel and the whims of destiny.
Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son... See full summary »
Pier Paolo Pasolini
While scouting locations for his classic "The Gospel According to St. Matthew", director Pier Paolo Pasolini noticed that filming in the actual site of the story, in Palestine, wouldn't be ... See full summary »
Along a rocky, barren coastline, Jesus begins teaching, primarily using parables. He attracts disciples; he's stern, brusque, and demanding. He comes to bring a sword, not peace, he says. He's in a hurry, moving from place to place near the Sea of Galilee, sometimes attracting a multitude, sometimes being driven away. His parables often take on the powers that be, so he and his teachings come to the attention of the Pharisees, the chief priests, and elders. They conspire to have him arrested, beaten, tried, and crucified, just as he prophesied to his followers. After he dies, he appears to his disciples and gives them final instructions.Written by
Well, maybe there is, but I've never caught a glimpse of it. Most movies about him are fundamentally wrong. In a religion which has totally turned its back on the line "it is easier for a camel to pass through the eye of a needle than for a rich man to get into the kingdom of Heaven" (in fact, I am surprised that some pope or other did not officially removed that line from the Bible; be sure that this film retains it and has it come right out of the mouth of Jesus Christ, who, I assume, was its speaker in the Bible), movies about Jesus are generally overproduced messes that do nothing but retell the story with much less effect than the Bible itself has. Even Martin Scorsese's version of the story, The Last Temptation of Christ, suffers from this. Although, despite its flaws, it has a lot more power than most films about these same events.
I do not understand why Pier Paolo Pasolini, who was a Marxist, a homosexual, and an atheist, made this film. But, despite his reason, it has turned out to be a great masterpiece. No one has ever attempted to set the story in its proper setting, at least not to my knowledge. The characters here are certainly semitic and Middle Eastern, unlike the entirely Anglo-Saxon casts of every other Jesus film or even any other religious film. Also, the cast, made up of unprofessional actors including Pasolini's own mother as the elder Mary, has not one beautiful face amongst it, except for maybe the actress who plays the younger Mary; she is quite beautiful. These faces and bodies are real: unattractive, harsh and worn. Teeth are not straight and white, but crooked and discolored as they certainly would have been before dentists were around. Clothing is not beautifully colored, but plain and tattered. Only the richest people could afford dye for clothing. Pasolini has also forsaken the traditional look of Jesus Christ. While the facial hair remains similar, although maybe lessened, the long hair is dropped in favor for shorter hair, which is the way that people wore it at the time. The image of the long-haired Jesus is a case of syncresis, that is, the mixing of religions; that image was adopted from the ancient Greek depictions of Bacchus, the god of wine.
What results is an account as straighforward as can possibly exist. With Pasolini's own personal convictions, the audience does not have to feel like they are being preached at. Christians, unless they are so foolish as to believe that Jesus WAS an Anglo-Saxon, should be moved to tears. Nonbelievers (anyway, those who appreciate film) will reel at the marvelous use of classical music (including, strangely enough, Prokofiev's music from Eisenstein's Alexander Nevsky), the greatness of the actors, especially the man who plays Christ (I've heard that he was a Marxist truck driver), and the beautiful simplicity of Pasolini's direction, sort of a perfect mix between Italian Neorealism and French New Wave. I myself, a staunch atheist, found it very powerful. 10/10.
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