Eight of Geoffrey Chaucer’s lusty tales come to life on-screen in Pier Paolo Pasolini’s gutsy and delirious The Canterbury Tales, which was shot in England and offers a remarkably earthy re-creation of the medieval era.
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Pasolini as Chaucer gives the film a more tangible through line than his earlier The Decameron. Here the same medley of stories, which run the gamut from satirical swipes at politics & religion to bawdy sexcapades & Chaplin pastiche, are tied together by the presence of Chaucer as self-reflexive surrogate for Pasolini, casting his critical eye not just over a medieval burlesque but its reflection of the modern world.
"Aqui terminam os contos de Canterbury, contados apenas pelo prazer de contá-los".
É exactamente a metáfora para que um dos filmes "menos conseguidos" (no geral) do Pasolini, tivesse sido filmado só pelo prazer de fazer cinema. E a beleza está lá, mais uma vez no peculiar humor negro que acompanha grande parte da obra do mestre italiano. Uma descrição visual mais pura e conseguida que a escrita.
I love these sprawling loose narrative structures that The Trilogy of Life has been using so far! Production design and cinematography is fantastic! Wonderful sex scenes and wonderful comedy! This film is really damn good, however (and I know this isn't an uncommon opinion) not quite as funny or uplifting as the Decameron. I was gonna give it 4 stars until that explosive ending, which raised my rating to a solid 5!
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.
My favorite of Pasolini's "trilogy of life", featuring a great comic cameo from Laura Betti and the perfection of Ninetto Davoli as a Chaucerian Chaplin. All of the seeds for Salo are already here, which was not only made in response to how these films were received, but is actually the logical continuation of these images.