" Milan A wealthy family received a telegram which includes only two words:" Arrival domani "(tomorrow I get ). The next day, visited by a boy with no further explanation is installed in the home as a member of the family. This premise, that other directors have used to create horror stories or to satirize the customs of his time, Pasolini serves as a starting point to create one of the masterpieces of religious films.
For those who have not had a chance to see Theorem, the argument is as follows. The visitor (Terence Stamp) accompanies the family in their daily activities and awakens desires that they did not seem to exist. Gradually the boy physically and emotionally seduce everyone, including the maid. It does not selfishly. Rather, it is precisely his ability to love without expecting anything in return for making all family members delivered to him. All goes happily until a new message indicates that your host must go.
The absence causes several reactions. The maid (Laura Betti) returns to his village to work miracles. The son (Andrés José Cruz Soublette) used to evoke the art is gone. The daughter (Anne Wiazemsky) falls into a kind of trance that it has lost. The mother (Silvana Mangano) walks the streets looking for young people that remind the absent and the agonizingly seductive. The father (Massimo Girotti) gives his factory workers and stripped of all material possessions, including clothing, to stop wandering in the desert . "
NOTE: FROM HERE COMES BECAUSE SOME SPOILER REFERENCES ARE A KEY SCENES AND THE END OF EACH CHARACTER
With this approach, the film promises a lot and what happens is that then all of Pier Paolo Pasolini parable falls by the wayside. The problem is that the parable is as hollow and empty where there is no catch.
The staging is remarkable. There are plastic rather than a succession of sequences in which each character separately creates its interpretation of what would be his divine contact with the protagonist, a great Terence Stamp. The question is therefore what would happen if God came into our lives to make us happy and give us hope.
The question, which a priori could unleash a bizarre plot by all the variants that could occur, Pasolini wasted allegedly leaving a void that has to interpret the viewer. Thus, the idea has to be in us is that the bourgeoisie are not able to be happy, because after his meeting with the joy given by the demiurge does not survive the encounter (each of the characters in the family suffers evils one more strange). While the mother (a brilliant Silvana Mangano) is given to the search for love through sex with strangers without any object, and in that pursuit of happiness is only momentary pleasure, the father broke with their corporate responsibilities so high and yet which implies money away from the world, desposeyéndose all, including their clothes, ending in a raging volcano naked and without direction.
the couple's children suffer from the misunderstanding of the meeting and see no life beyond. Therefore, the child enters an extreme catatonia and is committed to a mental hospital, while the child is unable to develop their true personality (who discovers his homosexuality seems to know the unknown).
The character that really makes a contrast to this decline is the servant who, not being matched by the stranger attempts suicide, but he avoided to mess with it later. When the stranger leaves, she escapes to his hometown and, after a period of mystical ecstasy and fasting, starts to levitate and make miracles. That is, the maid is the only one that uses the encounter with God to do good, because I understand. By contrast, the bourgeois, alienated and living dead as they are, are incapable of understanding the importance of meeting and finding no happiness in the presence of the unknown when it is gone, self-destruct.
this is probably why, along with some of Buñuel, the greatest moral fable for the communist ideology. Furniture is so great Italian left, in view of what it means, does not explain why your God, giver of happiness as it is, Terence Stamp a handsome, young and beautiful, which only strives to bring happiness without any compromise in an act of hope for humanity. And this sobering excuse to differentiate who is able to leverage the greatest gift.
The problem is that the film is boring. While promising start, with private meetings between the unknown and each character, then everything falls into sequences ornamental border on mental straw art of Mr. Pasolini.
Of Pasolini would have much to tell: his ideas, his death, his homosexuality, his time ... But his poetry is remarkable. Here I copy a short poem:
ANALYSIS LATE
I know well, know well that I am at the bottom of the pit;
that everything I've touched touched;
I am a prisoner of an interest indecent
each nursing is a relapse;
the waters are stagnant and everything tastes like old,
humor also is part of the immovable block;
not do anything but cut it back to the old;
not even attempt to acknowledge who I am, I lost
to the old goldsmith patience;
that old age brings out only the miseries of impatience;
will not be leaving here more than ever to smile;
I take turns back and forth across the land like a caged beast,
that I have so many strings that I ended up pulling one;
because I like muddy clay is material and therefore poor
both pure
I love the light only if it offers no hope. ***
I think, in short, that is very overrated and that the case of films on religious themes, in the end I prefer the golden age or Simon of the Desert, both of Buñuel, or Dies Dreyer Irae, because they are not so transcendent pointless and have stronger frames.
VALUATION: 6
