A wealthy family hosts a strange visitor. He seduces the maid, the son, the mother, the daughter, and finally the father, before leaving after a few days. After he’s gone, no one can continue living as before. Who was the visitor? Was he God? —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
Pasolini presents a cold minimalist study on the sexual awakening of a bourgeois Italian family. A stranger liberates each member of the family sexually including the family maid. What follows comments on religion, repression, sexual freedom, self loathing and transcendance. It is a film of images, of silence and of reflection. Wonderfully shot by Ruzzolini and scripted by Pasolini who was charged for obscenity.
Stamp plays a handsome and mysterious stranger who comes to stay with a bourgeois Milanese family and seduces every member of the household before suddenly departing, leaving them to implode. This cold and mystical fable, scripted by Pasolini and simultaneously expanded by him into a novel, is a fine example of almost pure cinema. Dialogue is kept to a minimum as beautiful images and sumptuous music carry the story..
While I still have to get used to this kind of Filmmaking, TEOREMA laid bare the fact, that I missunderstood the idea of minimalism till now. Never thought on structure-minimalism bevore and only saw it in regards of composition and action.
That is definitely an interesting way to put it. This was also my first Pasolini, and as profoundly classical cinephile, it's hard for me to emotionally connect with this film immediately. For me it's an emotion that comes from my rationalization from what I'm seeing, my analysis of its symbolic situations. That final scene is for me the most emotional intense - it's the final, sincere and big meltdown of it all.
Remembering not only “Italy’s major post-war intellectual,” but one of the world’s as well.
Pier Paolo Pasolini’s “Theorem” (1968)
The members of an outstanding but ordinary family each receive a spiritual revelation in this unique film that itself becomes a cinematographic vehicle of… read review
A beautiful and inscrutable character disrupts a quiet bourgeois existence.
The visitor for the son brings inspiration; for the mother, passion; for the daughter, love; for the father, introspection;… read review