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IMDbPro

Pasolinis tolldreiste Geschichten

Originaltitel: I racconti di Canterbury
  • 1972
  • 16
  • 1 Std. 51 Min.
IMDb-BEWERTUNG
6,3/10
8814
IHRE BEWERTUNG
Pasolinis tolldreiste Geschichten (1972)
FarceZeitraum: DramaDramaGeschichteKomödie

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.

  • Regie
    • Pier Paolo Pasolini
  • Drehbuch
    • Pier Paolo Pasolini
    • Geoffrey Chaucer
  • Hauptbesetzung
    • Hugh Griffith
    • Laura Betti
    • Ninetto Davoli
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,3/10
    8814
    IHRE BEWERTUNG
    • Regie
      • Pier Paolo Pasolini
    • Drehbuch
      • Pier Paolo Pasolini
      • Geoffrey Chaucer
    • Hauptbesetzung
      • Hugh Griffith
      • Laura Betti
      • Ninetto Davoli
    • 51Benutzerrezensionen
    • 48Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 wins total

    Videos1

    Trailer
    Trailer 4:47
    Trailer

    Fotos72

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    Topbesetzung78

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    Hugh Griffith
    Hugh Griffith
    • Sir January
    Laura Betti
    Laura Betti
    • The Wife from Bath
    Ninetto Davoli
    Ninetto Davoli
    • Perkin
    Franco Citti
    Franco Citti
    • The Devil
    Josephine Chaplin
    Josephine Chaplin
    • May
    Alan Webb
    Alan Webb
    • Old Man
    Pier Paolo Pasolini
    Pier Paolo Pasolini
    • Geoffrey Chaucer
    J.P. Van Dyne
    • The Cook
    Vernon Dobtcheff
    Vernon Dobtcheff
    • The Franklin
    Adrian Street
    • Fighter
    Orla Pederson
    Orla Pederson
    • Pilgrim
    • (as OT)
    Derek Deadman
    Derek Deadman
    • The Pardoner
    • (as Derek Deadmin)
    Nicholas Smith
    Nicholas Smith
    • Friar
    George Bethell Datch
    • Host of the Tabard
    • (as George B. Datch)
    Dan Thomas
    Dan Thomas
    • Nicholas
    Michael Balfour
    Michael Balfour
    • The Carpenter
    Jenny Runacre
    Jenny Runacre
    • Alison
    Peter Cain
    • Absalom
    • Regie
      • Pier Paolo Pasolini
    • Drehbuch
      • Pier Paolo Pasolini
      • Geoffrey Chaucer
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen51

    6,38.8K
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    Empfohlene Bewertungen

    KGB-Greece-Patras

    Ever-fresh Pasolini comedy of ethics

    This, even though it lacks a bit the wit and spirit of IL DECAMERON, which was funnier, it still manages to satisfy as you reach the end. Pasolini's perverted humor as well as some of his usual actors are here. There's full nudity, both male and female. Maybe here the erotic element is more intense so its less humorous, I am not sure. I suppose it will satisfy those who like Pasolini's humour like, say, IL DECAMERON.

    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.
    vince-41

    Best Italian film ever

    When I was going to see "Canterbury Tales", I knew Pasolini was infamous director who made crazy films, that weren't for everyone's taste.When I saw it. It was one of those movie experiences that change the way you see films. It's not that I loved this film, I don't see how I can use word "love" here. It's just that from the beginning to the end I couldn't believe my eyes. Sequence after sequence, the movie became one of the most original films I ever seen in my life. Wife having sex standing on her husband's shoulders, woman farting in the face of the young boy who loves her, drunken man, p***ing on dining people, giant ass, that defecates with demons, it's shocking, yes, but it's not the point. The point is,we believe every single thing we see on the screen. Of course, it's because Pasolini uses natural lightning, unprofessional actors, and partly because when there is fucking on the screen, it's not simulation, it's real f**king (what other film can be classified as "porn", and also have Oscar-winning costume designer in its credits?). But it's not the reason. I always admired Pasolini, because he was one of those people, who make others respect them, who have remained hip even twenty years after they are dead. And being this incredibly fascinating person, he could put part of the magic that made him the person he was into his movies.
    Shuggy

    Interesting but not Chaucer

    If you watched this movie in order to get a crib of Chaucer's Canterbury Tales, you'd be out of luck, and missing the point. Chaucer's underlying anti-clerical and pro-love-and-life philosophy may be there, but the substance is very different. Pasolini's 14th century England lives and dresses more like 16th Century Italy.

    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.
    7Nazi_Fighter_David

    Pasolini dared to show the medieval era as extremely dirty, indecent, vulgar

    This is the second in Pasolini's series of setting classic bawdy tales to film… In this case, he selected eight of Chaucer's Canterbury Tales, including the infamous miller's tale and the incident with the red hot poker kiss…

    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...
    8rathunter

    Eight tales about love and death.

    This movie is second of Pasolini's so called 'Trilogy of Love' (Il Decameron, I Racconti di Canterbury, Il fiore di mille e una notte; 1970-1974). All these movies are quite specific, there are said not to be that provocative or intriguing. They are greatly influenced by the fact that while directing them Pasolini was contented because of his intimate relationship with the 'innocent barbarian', actor Ninetto Davoli. It is also said that in 'Trilogy of Love' Pasolini became resigned to the present time world by escaping to the past.

    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'.

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    Handlung

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    Wusstest du schon

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    • Wissenswertes
      Remarkably, this is the only major cinematic take on Geoffrey Chaucer's classic tales.
    • Patzer
      Some 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 Versionen
      The 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'.
    • Verbindungen
      Featured in Playboy: The Story of X (1998)
    • Soundtracks
      The 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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    FAQ

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    Details

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    • Erscheinungsdatum
      • 12. Oktober 1972 (Westdeutschland)
    • Herkunftsländer
      • Italien
      • Frankreich
    • Offizieller Standort
      • arabuloku.com
    • Sprachen
      • Italienisch
      • Englisch
      • Latein
      • Gälisch
    • Auch bekannt als
      • Los cuentos de Canterbury
    • Drehorte
      • Battle Abbey, East Sussex, England, Vereinigtes Königreich(merchant's tale: hall interior)
    • Produktionsfirmen
      • Produzioni Europee Associate (PEA)
      • Les Productions Artistes Associés
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    Box Office

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    • Weltweiter Bruttoertrag
      • 9.028 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      1 Stunde 51 Minuten
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 1.85 : 1

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