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.
L'auteur, présent, (interprété avec malice par Pasolini en personne) prend note pour la postérité de ces 8 savoureux morceaux d'anthologie bouffonne. Plaisirs de la chair, de la ripaille, délires scatologiques, charge anticléricale se côtoient pour le plus grand plaisir des yeux et des oreilles. D'une énergie profondément rabelaisienne, une sympathique oeuvre baignée d'érotisme paillard et grivois. www.cinefiches.com
The weakest of Pasolini's Trilogy of Life. Photography felt dull for the most part (save for his recreation of hell), and it felt like a re-tread of Decameron, this time in England, and the bawdiness being more in bad taste than comedic and the eroticism seeming much uglier. The stories didn't seem as interesting this time around either, save for the windmill one with the farmers, and the dubbing was off putting.
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.
This was my first Pasolini and I'd been meaning to watch it for ages. I went in without any expectations and only a desire to see Chaucer adapted to screen. But, I was so completely surprised. It was enormously funny and the hell scene at the end is the cherry on top.