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.
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 »
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
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
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
In this film inspired by the ancient erotic and mysterious tales of Mid-West Asia, 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
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 »
"Truth lies not in one dream, but in many." - Arabian Nights See more »
The film was cut for UK cinema with heavy edits to all shots of genital nudity, a man firing a phallic shaped arrow at a woman, and a naked man having wine licked from his feet but passed completely intact by the BBFC in 2001. See more »
'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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