Teorema - Geometrie der Liebe

"There are only 923 words spoken in "Teorema" - but it says everything!", brags the tagline. It makes some sense, since Pasolini's film feels like a rhythmic visual poem with scattered dialogue. "Teorema" looks and feels like a haunting silent film integrated with sparse dialogue - failed attempts of communication and change among the characters.

A beautiful and enigmatic visitor (a young Terence Stamp, one of the intriguing, almost androgynous cult sex figures of the 60's, along the lines of a Udo Kier and others) seduces and then leaves each member of a bourgeois family. The father (Massimo Girotti, of Visconti's "Ossessione"), the mother (Silvana Mangano, "Death in Venice"), the daughter (Anne Wiazemsky, of Bresson's "Au Hasard Balthazar" and Godard's then wife), the son (Andrés José Cruz Soublette) and even the housemaid (Laura Betti, best actress at the Venice Film Festival for this performance) are all altered by the visitor's sexual presence in their lives, and each will try to find salvation or catharsis once they're abandoned. Their ways can be seen as an allegory of the fears and misconceptions of those trapped in their own conventions, and the tragic consequences of their failed attempts to get away - after the visitor, an hedonistic angel of death, tricked them with false hopes of sexual and emotional liberation. At least, that's how I see it - which I wouldn't dare to claim as an ultimate view on it. As enigmatic and haunting the images in "Teorema" are, they ask for repeated viewings. And just the fact that they give you enough interest for a second look, it's quite a feat. An interesting, cerebral cinematic exercise, to say the least. 8.5/10.

This is Pasolini's primary anti-bourgeoisie film and is sort of a complementary companion of Luis Bunuel's "The Discreet Charm of the Bourgeoisie." While Bunuel's film attacks the European post-war middle class (slightly different from America's middle class, though just as apathetic and selfish) with mockery, humiliation, and eventually destruction, Pasolini takes a more soulful route, revealing the hidden desires of a class stifled by social dogma and propriety. Rather than turn them into effigy, he allows them to have epiphanies, realizing their inner hollowness, and taking different paths to self-fulfillment. "Teorema" means "theorem," and in this case, the mysterious, beautiful stranger embodied by Terrence Stamp offers proof of a certain Italian bourgeois family's misgivings. Pasolini here offers a lucid statement, less political than Bunuel, but just as poetic. His execution, however, is dry and hokey, as Stamp encounters each family member almost mathematically. While the actors provide genuine emotion (particuarly in facial expressions, which Pasolini, in his entire body of work, has shown overwhelming appreciation for), the structure of the film is so tight that he almost sucks the life right out of his message. It's a curious film, though, not completely lacking in entertainment value. In a way, it plays out like a sonnet or other tightly structured poem type. Recommended is "Porcile," made by Pasolini, with similar themes, but presented more organically.

This is great, but I'm not sure if for the reasons usually cited.

Yes, there is a fable here, a mysterious man upsets balances in a bourgeois household. Yes, it is from those times -Bunueltimes, Godardtimes- when the word 'bourgeois' was meant quite vehemently. It is symbolically abstruse throughout about empty lives and the quest for meaning.

But, I think as with these people depicted on desperate journeys to fulfillment, the more you cling to the search for meaning as a viewer and try to boil it down to something that makes sense, the more you end up with just an allegory about the failure to do it. For all I know, that was Pasolini's intention, echoed loudly in the parting cry for god in the wilderness.

No matter. Me and him mean wholly different things by emptiness. What captivates me here is the free form of the narrative, the cinematic eye that places you as transparent observer in the same world as these people, not easy to accomplish this at all, and the journey through cracks of story to the wondrous emptiness of everything (trees, sunlight, concrete, people) languidly floating in space together.

It is in the same direction as Antonioni, though hampered by allegory. It invigorates the senses like he does. And the eye is tuned to the same architecture of empty space as seen in L'Eclisse and Blowup.

Pasolini may have meant this as lament or indictment. I get the same melancholy joy as from Japanese woodblocks.

This is the most gentle and poetic film that Pasolini directed. The characters, the location and the narrative are symbols. Words in poetry can express many emotions, truths and philosophies, and so do the characters in Teorema. The general meaning of this film is open to discussion. In my view The Visitor (Terence Stamp) represents love, and love in this regard can be inspiration, devotion to another person without personal benefit. When The Visitor shows the family another truth, and then abandons them, they are left in dispair, and are unable to return to their former way of living. I think the family represents people living in a capitalist system. Pasolini was a Marxist and he directed this film in 1968, a revolutionary year in which the youth of Western Europe (and a part of Eastern Europe) revolted against their governments and wanted to build a society based on new principles. This is a very relevant film for unpoetic times.

A somewhat enigmatic and ambiguously symbolic film by Pasolini. But it's meaning(s) seems obvious. First of all, that money do not promptly bring eternal happiness, you have to find your own meaning in life. The rich bourgoise family have money but no purposes, haunted by depression, and live utterly pathetic lives. The stranger, representing a kind of god, a prophet, a mad variable that bursts into bourgeois normality, irrational that upsets the rational, extraordinary that destroys the ordinary and every bourgeois convention. Terence Stamp is perfect in the role of the stranger who represents change, inner discovery and the awareness of the inner emptiness to be overcome. The bourgeois family, laid bare and by now alone with themself, will not be able to overcome the knowledge of their own nullity, it will implode without escape in a definitive explosion. Everyone falls into the void of a useless past, apart from the servant who accepts a destiny of holiness and manages to find a real role in the world.