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 rescued, given the name Edipo (Oedipus), and brought up by the King and Queen of Corinth as their son. One day an oracle informs Edipo that he is destined to kill his father and marry his mother. Horrified, he flees Corinth and his supposed parents – only to get into a fight and kill an older man on the road… —IMDb
Born in Bologna in 1922, Pier Paolo Pasolini left behind a searing legacy that haunts contemporary Italy more than thirty years after his death. More than anyone, Pasolini gazed deeply into Italy’s role in the spread of Fascism and, more controversially, the continuing influence of its ideas in post-war Europe. For him, this was a matter of great personal significance; his father was a soldier in the Fascist Army (he had once protected Mussolini from an assassination attempt) while his brother joined the resistance only to be murdered in an ambush. This personal trauma coincided with a period of intellectual development as Pasolini engaged with Marxist philosophy; especially the works of Antonio Gramsci, the founder of Italy’s Communist Party (PCI). His relationship with the PCI, however, was tense. As a poet and intellectual, Pasolini scrutinized his fellow Communists as critically as he did bourgeois society. His enemies retaliated by targeting his personal life; the first instance… read more
O que Pier Pasolini e Glauber Rocha têm em comum? Não foram apenas contemporâneos nos 60's mas também compartilharam visões míticas sobre o mundo. Assim como em "Medeia", o italiano retoma aqui a tragédia grega e faz uma ponte com a Itália do seu tempo. Cruel, árido mas envolvente, o filme foi rodado no Marrocos - que calor! - e mistura atores e não atores. Como não lembrar então de "Deus e o diabo na terra do sol"?
The fireworks which scare the child Oedipus at the window have been performed by my father (1967 Sant'angelo Lodigiano, Italy)
”Oedipus Rex” (1967) – Knowledge without Explanation Is Directed Against Those Who Need It the Most Authoritarian Truths of the Fathers and Gods As Patriarchal Weapon to Keep the New Generations Under Control “Oedipus Rex” examines the relationships between the young generations and systems of power at various periods of Western history. Taking the tragedy by Sophocles as a semantic skeleton of his film, Pasolini adds to the Greek play historical perspective – he assembles the scenes that took place in Ancient Greece, life during fascist period in Italy, and what happens to Oedipus during the post-WW2 Italian “economic miracle”. Pasolini emphasizes the historical universality of Oedipus’ predicaments. By doing this incredible semantic/stylistic equilibristic, Pasolini returns science-fictional paradigm of time-travel from being part of the content of art to where it belongs – to its form. From the epoch of Italian fascism the hero is “transferred” by the director to Ancient Greece and from there to Italian democratic post-modernity. Pasolini dedicates the film to the analysis of how the youth in different epochs relates to the truth about societal life (how much or how little young people are able to understand how the system functions and how they are mistreated at the hands of the elder generations), and with what tricks and tactics the systems of domination make it impossible for the young to understand what life is really about. Through particular images and twists of the plot Pasolini enumerates five strategies of distorting truth by the system which makes it impossible for the youth to reach rational understanding of the social reality. Truth without explanation and prediction without validation – the dogmatic (authoritarian) truths of the ancient oracles and prophets and today’s conservative propagandists alike explain reality through the expecting/forecasting crimes of victims of socio-political system, not through the crimes of those who rule over life. Oedipus is transformed into a criminal not only because he was abused by the hate of his father and not protected against this hate by his mother but also because how his predicaments were formulated by the system. According to Pasolini, condemnation of Oedipus by gods/destiny is the equivalent of being sacrificed by the system that understands crime as a personal transgression of Laws and taboos – not as internalization of system’s values of rivalry, competition, fight, greed, megalomania and belligerency. Pasolini operates with different types of images depicting human reactions – for example, images registering human reaction as that of people’s psychological wholeness, not just reaction on the circumstances, or images with symbolic connotations making them archetypal, like that of Oedipus biting the back of his hand (his palm-his destiny) when he feels trapped in it. Pasolini has a unique ability to root ideas in stylistic configurations and effects. “Oedipus Rex” is stylistically and intellectually like a unique organism – there is no other film in the history of cinema (including Pasolini’s other ones) like this. Victor Enyutin