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bjr9955
25Jan13
What a bawdy film! I loved Pasolini's cameo as Geoffrey Chaucer himself. Can't wait to see the third and final film in the Trilogy of Life, Arabian Nights.
Amanda Arantes likes this
Matthew_Lucas
1Jan13
The second film in Pier Paolo Pasolini's TRILOGY OF LIFE adapts Geoffrey Chaucer's immortal Canterbury Tales (and casts Pasolini himself as Chaucer). A less cohesive work than its predecessor, THE DECAMERON, Pasolini nevertheless uses the film as an extension of his exploration of sexual innocence and its relationship to religious piety. The final descent into Hell is one of Pasolini's most virtuoso sequences.
Pedro Franceschini
8Aug12
I love Pasolini, and this movie has wonderful moments (specially during the first part), but then it seems to lose itself in all its jokes and farts. (but the end is really good)
Ally Best likes this
Teresa Banks and monsieur bornstein like this
wpqx
3Apr11
Like all too many Pasolini films this has distractingly awful dubbing which ranges from irritating to implausible. The film itself is more of the same following Decameron and preceding Arabian Nights
Varun Anisetty likes this
VENIMOS LOS JODIMOS Y NOS FUIMOS
18Dec10
Esta gozosa adaptación de P.P. Pasolini de los relatos de Geoffey Chaucer es, quizá, el mejor capitulo de su Trilogia de la vida. Una cinta fresca y sin inhibiciones que resulta, pese a la erudita opinión de cientos de criticos "serios" quienes encuentran en ella montones de referencias culturales y simbolismos intelectualoides, una experiencia divertidisima,capaz de hacer cagar de la risa al espectador más estoico.
smallsaul
3Oct10
Passolini presents a bawdy montage of medieval life replete with fart jokes and lecherous old men and young cheating wives. But it's the way that he dwells on faces that really brings this to life, and the creativeness of his compositions that lifts something beautiful from the squalor (and is an obvious inspiration for Greenaway's Draughtsman's Contract). The hell scene at the end is hilarious.
richmondhill
23Feb10
A fleshly reading of Chaucer, delivering a sordid view of medieval England, thankfully shorn of the heritage trappings of local directors. As with Chaucer it’s episodic – as much of the so-called Trilogy of Life would prove to be – and more a simple libidinous celebration of earthy sexual delights than the usual metaphorical allusions. The concluding expulsion of the pilgrims from the Devil’s anus is suitably ribald.