Pasolinis künstlerische, manchmal gewalttätige, immer lebhaft filmische Nacherzählung einiger der erotischsten Geschichten von Chaucer.Pasolinis künstlerische, manchmal gewalttätige, immer lebhaft filmische Nacherzählung einiger der erotischsten Geschichten von Chaucer.Pasolinis künstlerische, manchmal gewalttätige, immer lebhaft filmische Nacherzählung einiger der erotischsten Geschichten von Chaucer.
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- Drehbuch
- Hauptbesetzung
- Auszeichnungen
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- Pilgrim
- (as OT)
- The Pardoner
- (as Derek Deadmin)
- Host of the Tabard
- (as George B. Datch)
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The copy I saw had awful dubbing - Italian language- maybe it's bad sychronisation, or something else...
As far as I am concerned it is worth it alone for this special, absurd, perverted, surrealistic last scene, taking place in hell. It rulez! Some others scenes are awesome too! And of course there'e Pasolini evident dislike of church/religious dogmas.
If you're not easily offended and like old films, specially European ones, give it a try, IL DECAMERON as well.
The Miller's Tale is much grimmer when brought to the screen than Chaucer would have intended. "And Nicholas is branded on the bum, And God bring all of us to Kingdom Come" in Coghill's cheerful popular translation, becomes something more like the execution of Edward II. Not just on, but in. And the execution of a sodomite too poor to bribe his way off the griddle seems drawn out just to make a bad joke about the seller of "griddle cakes" (frittelli) plying his trade in the crowd.
He is one of the more than fair share of handsome young men in the film, and there's more than a fair share of closeups of their middle regions, front and back, in tight-fitting breeches (not that I'm complaining).
One feature that is almost entirely absent is any sense of pilgrimage. The storytellers appear only at the beginning and end of the tale. Instead we cut back to Chaucer himself (Pasolini himself, and very handsome he is too), writing the tales at a snail's pace. There are also long (by 2006 standards) tracking shots over indifferent scenery. Yet other scenes jump disconcertingly, the start of one tale used to mark the end of the previous one.
The tales revolve around a group of pilgrims who are journeying to the shrine of Saint Thomas a Becket of Canterbury The trip is so boring that they begin telling each other stories that soon get obscene, gory and very sexy Pasolini adds another motif to his visualization by placing Chaucer himself into the movie, periodically cutting to him writing at his desk...
Pasolini inserts pleasure and amusement at social customs, especially marriage Some of the stories are funny, others are deadly serious The scene where a young man is burned for making love to another of his own sex, for example, is chilling...
In fact, Pasolini's using non professional actors, is more in keeping with the tone of the original than the usual romanticized versions...
However I don't think it's true. In these movies, Pasolini introduces to the audience an incorrupt world where people don't care about 'material aspects of life', they try to live at the full stretch, they seek love and, of course, sex and they do not respect 'the repressive limits imposed by religious and bourgeois morality' (Gino Moliterno). This is probably why Pasolini later declared that these three films were most ideological of his career (in his famous and long interview with Massimo Fini). I suppose Pasolini tried to confront such 'primitive' world with the world he had lived in and which he had hated so much (this confrontation is present all the time, especially by the contrast between the love and the death, by the contrast between the first tales, in which the human naked body dominates, and the last two tales in which pursuit of money causes death and perdition. Because of such end it is also suggested that I Racconti di Canterbury are very close to Pasolini's disillusioned last movie, Saló).
It is common to hear that Chaucer must have rolled over in his grave after this movie was released. But if you try to understand The Canterbury Tales in the context of Chaucer's attitude towards love in his (other) literary works, you will probably find that Chaucer would resemble to Pasolini alias Mr Chaucer ends the film with writing 'Here end the Canterbury Tales, told for the mere pleasure of their telling, Amen'.
Wusstest du schon
- WissenswertesRemarkably, this is the only major cinematic take on Geoffrey Chaucer's classic tales.
- PatzerSome of the women have tan-lines from bikinis.
- Zitate
The Wife from Bath: There's nowhere in the Gospels that says we ought to stay virgins. Anyway, tell me, what were the genital organs made for at the creation? Not to lie dormant I suppose. And nobody's going to tell me they were just put there to piss through. Mark you, I use it for that as well. And every man must serve his wife in wedlock...
- Alternative VersionenThe original UK cinema version was cut by the BBFC with edits to anal sex shots, a man being whipped, and Rufus urinating on the crowd during the 'Pardoner's Tale' segment for an 'X' certificate. The cuts were fully restored in 2001 and the certificate downgraded to a '15'.
- VerbindungenFeatured in Playboy: The Story of X (1998)
- SoundtracksThe Old Piper
written by Carl Hardebeck in 1912
performed by Frank McPeake
Played over the opening credits and sung frequently by Perkin the Reveler in the Cook's Tale
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Details
- Erscheinungsdatum
- Herkunftsländer
- Offizieller Standort
- Sprachen
- Auch bekannt als
- Los cuentos de Canterbury
- Drehorte
- Battle Abbey, East Sussex, England, Vereinigtes Königreich(merchant's tale: hall interior)
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Box Office
- Weltweiter Bruttoertrag
- 9.028 $
- Laufzeit1 Stunde 51 Minuten
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1