Stanley-Becker
A rejoint le oct. 2010
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Note de Stanley-Becker
Michael Oblowitz is a passionate documentarist - his life long love affair with surfing is immediately apparent - this entertaining slice of surfing life will both introduce you to a surfing legend and a master surfing movie maker - go see it!!
The prologue of this movie is actually the epilogue. Pasolini emphasizes the artistic freedom to turn the world inside out and fictionally destroy all conventions. In a pseudo-documentary vignette intellectuals debate with the new industrialists {formerly "the workers"} and future plutocrats as to whether they will become subsumed by the bourgeoisie as a result of being inevitably corrupted by the trappings of wealth and power.
In the jump between the main story and the prologue a motif, {repeated throughout the entire movie}, of the Hebrews wandering in the wilderness, hoping to find the Promised Land, is inserted
We are introduced to the nuclear family in its bourgeois construct as an Industrialist with huge factories and a magnificent Milanese villa, his trophy wife, a beautiful female, sybaritic, vacuous and fashionably attired and coiffured, as befits her class, their son Pietro and daughter Odetta. All of them are illustrated as typically bourgeois, self-satisfied and complacently entitled to lead their lives empty of meaning. All bourgeois households of their class have servants and the religious peasant Amelia runs their household.
Pasolini then has a metamorphic agent, the boyish Terence Stamp, enter into their idyll. A cypher for the creative force of the auteur Pasolini himself, "the boy" insinuates himself into the individual lives of each of the five personae in the household. First, for no explicable reason other than the sexiness of his appearance, {Pasolini's homosexuality focuses on Stamp's prettiness and young slender physique}. Stamp's personality is quite reserved and introverted, so although he is seen to be reading the iconic gay poet Rimbaud, and playing the fool in a boyish way, we are never quite convinced of any intellectual passion.
The five seductions are all carnal, starting with the peasant Amelia, who is overwhelmed by Stamp's "aura" and, initially trying to avoid her "fall" by attempting suicide, succumbs to her desire for sexual congress with "the boy". In quick succession "the boy" inducts the younger son into the homosexual life. Here the thought occurs that a typical initiation into homosexuality by the older man would most likely be Pasolini's personal narrative, especially, as the story develops we see the son overcome his anguish by sublimating into the arts, as Pasolini himself, did. Next "the boy" is seduced by the mother and then the daughter pulls him into the bedroom. Finally the heterosexual father {in a typical gay fantasy "all straight men are potentially gay" } is seduced by "the boy". Having performed his role of alchemical mischief we are introduced to Tolstoy's novella "The Death Of Ivan Ilyich" when as if enacting the final chapter, the father falls ill and "the boy' takes his legs and holds them above his head giving him relief - it should be noted that Nabakov lectured on this work stating that Tolstoy considered bourgeois hypocrisy to be a moral death or suicide of the soul.
Then, suddenly "the boy" - the revolutionary agent of transformation - announces his abrupt departure {this takes place almost exactly half way into the movie}. Like the aftermath of a bad L.S.D. trip, {Pasolini created this movie in 1967 at the height of the 60's revolution}, the confusion and dismay of the five individuals are the necessary results of picking up the pieces, and living a life with new values, and the meaninglessness of the past.
Of the five the most personal is the son Pietro, who leaves home to take the path of the artist {Rimbaud's calling} and become a painter {deeply inspired by a coffee table art book of Francis Bacon}. He muses that now that his past delusions of normality were shattered by his realization of his homosexuality, he must embrace his difference and become a creative power himself. He becomes a painter and paints on glass reminiscent of Duchamp's "Bride Stripped Bare" - he goes through many changes and humiliations, eventually restoring his equilibrium and health, by realizing the inconsequence of his life in relation to the universe. Here you have Pasolini's personal odyssey integrated into the story.
As to the other players, Amelia the servant returns to her country roots, where she becomes an austere penitent, and performs the Catholic miracle of levitation, only to be buried by an old peasant woman {played by Pasolini's mother} and once again with reference to Tolstoy's "Death of Ivan Ilyich" she declares that she is not dying but acting out of sympathy for those that are still living in moral death, aka the bourgeoisie. The mother in true homosexual style becomes a woman driven to find young boys { as in gay "cottaging", rent-boys, etc,}, and has anonymous sex with them. We leave her in a state of ungratified anguish. Odetta, the daughter {described by her mother as "caught up in the Cult of Family"}, allows her life force to seep away, while the father gives away his factories, and strips himself naked, ending up like his wife, wandering in the wilderness with no hope of finding the Promised Land.
Another peculiarity of this beautifully framed cinema is Pasolini's gay framing of the male crotch which is in contrast to the usual Hollywood focus on the female mammary, buttocks and legs. There is also some clothing fetishism with the camera lovingly gazing at the male Y-fronts. {underpants}
At the end of the explication of a theorem "Q.E.D." is affixed "that which has been demonstrated". I recommend this movie to those that are interested in the art of the 60's, gay art, revolutionary politics, and Surrealism in cinema. Its a mind blowing experience!
In the jump between the main story and the prologue a motif, {repeated throughout the entire movie}, of the Hebrews wandering in the wilderness, hoping to find the Promised Land, is inserted
We are introduced to the nuclear family in its bourgeois construct as an Industrialist with huge factories and a magnificent Milanese villa, his trophy wife, a beautiful female, sybaritic, vacuous and fashionably attired and coiffured, as befits her class, their son Pietro and daughter Odetta. All of them are illustrated as typically bourgeois, self-satisfied and complacently entitled to lead their lives empty of meaning. All bourgeois households of their class have servants and the religious peasant Amelia runs their household.
Pasolini then has a metamorphic agent, the boyish Terence Stamp, enter into their idyll. A cypher for the creative force of the auteur Pasolini himself, "the boy" insinuates himself into the individual lives of each of the five personae in the household. First, for no explicable reason other than the sexiness of his appearance, {Pasolini's homosexuality focuses on Stamp's prettiness and young slender physique}. Stamp's personality is quite reserved and introverted, so although he is seen to be reading the iconic gay poet Rimbaud, and playing the fool in a boyish way, we are never quite convinced of any intellectual passion.
The five seductions are all carnal, starting with the peasant Amelia, who is overwhelmed by Stamp's "aura" and, initially trying to avoid her "fall" by attempting suicide, succumbs to her desire for sexual congress with "the boy". In quick succession "the boy" inducts the younger son into the homosexual life. Here the thought occurs that a typical initiation into homosexuality by the older man would most likely be Pasolini's personal narrative, especially, as the story develops we see the son overcome his anguish by sublimating into the arts, as Pasolini himself, did. Next "the boy" is seduced by the mother and then the daughter pulls him into the bedroom. Finally the heterosexual father {in a typical gay fantasy "all straight men are potentially gay" } is seduced by "the boy". Having performed his role of alchemical mischief we are introduced to Tolstoy's novella "The Death Of Ivan Ilyich" when as if enacting the final chapter, the father falls ill and "the boy' takes his legs and holds them above his head giving him relief - it should be noted that Nabakov lectured on this work stating that Tolstoy considered bourgeois hypocrisy to be a moral death or suicide of the soul.
Then, suddenly "the boy" - the revolutionary agent of transformation - announces his abrupt departure {this takes place almost exactly half way into the movie}. Like the aftermath of a bad L.S.D. trip, {Pasolini created this movie in 1967 at the height of the 60's revolution}, the confusion and dismay of the five individuals are the necessary results of picking up the pieces, and living a life with new values, and the meaninglessness of the past.
Of the five the most personal is the son Pietro, who leaves home to take the path of the artist {Rimbaud's calling} and become a painter {deeply inspired by a coffee table art book of Francis Bacon}. He muses that now that his past delusions of normality were shattered by his realization of his homosexuality, he must embrace his difference and become a creative power himself. He becomes a painter and paints on glass reminiscent of Duchamp's "Bride Stripped Bare" - he goes through many changes and humiliations, eventually restoring his equilibrium and health, by realizing the inconsequence of his life in relation to the universe. Here you have Pasolini's personal odyssey integrated into the story.
As to the other players, Amelia the servant returns to her country roots, where she becomes an austere penitent, and performs the Catholic miracle of levitation, only to be buried by an old peasant woman {played by Pasolini's mother} and once again with reference to Tolstoy's "Death of Ivan Ilyich" she declares that she is not dying but acting out of sympathy for those that are still living in moral death, aka the bourgeoisie. The mother in true homosexual style becomes a woman driven to find young boys { as in gay "cottaging", rent-boys, etc,}, and has anonymous sex with them. We leave her in a state of ungratified anguish. Odetta, the daughter {described by her mother as "caught up in the Cult of Family"}, allows her life force to seep away, while the father gives away his factories, and strips himself naked, ending up like his wife, wandering in the wilderness with no hope of finding the Promised Land.
Another peculiarity of this beautifully framed cinema is Pasolini's gay framing of the male crotch which is in contrast to the usual Hollywood focus on the female mammary, buttocks and legs. There is also some clothing fetishism with the camera lovingly gazing at the male Y-fronts. {underpants}
At the end of the explication of a theorem "Q.E.D." is affixed "that which has been demonstrated". I recommend this movie to those that are interested in the art of the 60's, gay art, revolutionary politics, and Surrealism in cinema. Its a mind blowing experience!
While Don Juan and Lothario are literary constructs, entirely fictional, Giacomo Casanova like De Sade {15 years his junior} was a flesh and blood historically verifiable person. Casanova was born in Venice 286 years ago in 1725 and he died 73 years later in 1798 having witnessed the fall of the Age of Decadence and the transformation brought by the French Revolution. That his name is synonymous to this day with the successful pursuit of sexual conquest is due to the fact that Casanova was a great writer who recorded his life in a 12 volume opus titled "The Story of my Life". This episodic work of literature apparently describes in detail Casanova's amorous victories on the sexual battlefield claiming and describing the seduction of at least 120 different woman.
Fellini, the year after Pasolini made his illustration of De Sade's literary perversity in Salo, brought this illustration of some of the episodes of Casanova's sexual exploits. The movie opens with the masked Carnival depicting Venus, {the goddess after whom Venice was named} rising out of the sea as her ancient Greek source goddess Aphrodite did before her. The masking of the revellers was an encouragement for the participants to ignore class differences and thus increase the scope of orgiastic interaction sponsored by the patron goddess of Love, Venus,
A masked man receives a letter proposing an assignation on an island palace with a woman masquerading as a nun, Casanova, revealed to us as a Dandy in extravagant attire of opulent and decadent fashion. Although historically dark haired Fellini portrays Donald Sutherland, {with false nose and jaw}, as a convincing Casanova, a foppishly ringletted blonde. As this is a cinematic examination of the life and technique of one of the most outrageous ladies man in modern history, the viewer is immediately introduced to Giacomo's modus operandi or seduction formulae. Casanova is not a bully but is much more adept at exploiting female gullibility with poetic declarations of deep and undying love which he combined with his peacockish appearance and intimate confessions of ardent desire and you have the story of his life in a nutshell, Other attributes that also helped garner his reputation was the reputed size of his penetrative organ and the athleticism of his ability to maintain sexual intercourse for long extended periods with an economy of repeated but unvaried thrusts leading eventually to orgasm. This delaying technique similar to "karezza" and tantric practices helped spread the name of Casanova as the ultimate stud of all time.
Apart from his reputation as a sexual libertine Casanova was eloquent and funny. The ability to make people laugh has always had aphrodisiac stimulation. After the conquest of the pseudo-nun Casanova has success with a neurotic young girl whom he cures from constantly fainting with a dose of sex magic. In a later episode we are introduced to the soirée' of Madame D'Urfee who believes that impregnation by Casanova would lead to the passing of her soul to a male child and then onto immortality. Casanova had performance problems with her as she was an ancient wrinkly and his ability to raise an erection had to be assisted by one of his lovers who had to amusedly stand by his side and wiggle her rear in order to facilitate his potency. It worked and Casanova made off with one of the many fortunes he made and lost during a life of spontaneous and opportunistic self-invention.
Among the most memorable set pieces that Fellini orchestrates is a wonderful dance in exquisite costume at the dinner provided by the hunchback and a young male ballerina. The costumes throughout the movie are fantastic. After the dance Casanova voices his disagreement with the notion that the male is the tempter. Henrietta, his lover at the time {played by the gorgeous Tina Aumont} is to leave him in one of the great blows he suffered in his sexual adventures. She managed to bring some sense of emotional loss which went beyond Casanova's usual rhetorical protestations of besotted love.
The Nino Roti score of sad music box lament and Casanova's most prized possession - his phallic winged mechanical toy which like a metronome allowed Casanova to keep a steady thrust. Apart from overwhelming woman with the false flattery of his supposed personal interest Casanova also reveals in the sex competition at the Prince Del Brand's Palace that he has an energy drink containing raw eggs and ginger and cinnamon, which he uses to keep his erection for up to an hour.
What happens to the ageing Casanova hundreds of years before the coming of Viagra? In Freud's theory the sexual energy with no capacity for expression becomes channeled to more productive outlets. In Casanova's case his last 12 years were spent writing and revising his major work "The Story of my Life"
Fellini chose to give the mood of the movie a certain disappointment as if Casanova was never satisfied and always a depressive in nature, but this does not make sense, as it stands to reason that as a young man part of Casanova's attraction was as a bon vivant, raucous, bawdy, randy and full of life. However the movie is styled as Fellini's Casanova and the odyssey it depicts - the life of Casanova - has been described as the greatest autobiography ever written.
That such a man existed is historical proof that some men are closer to the gods than anyone else. Fellini gives you sumptuousness and thought, {it is reputedly Fellini's personal favorite of all his oeuvre}. However, Bunuel on viewing the movie walked out before the end. I found it interesting as a working study of satyriasis and nymphomania which are fields rarely examined by auteurs.
Fellini, the year after Pasolini made his illustration of De Sade's literary perversity in Salo, brought this illustration of some of the episodes of Casanova's sexual exploits. The movie opens with the masked Carnival depicting Venus, {the goddess after whom Venice was named} rising out of the sea as her ancient Greek source goddess Aphrodite did before her. The masking of the revellers was an encouragement for the participants to ignore class differences and thus increase the scope of orgiastic interaction sponsored by the patron goddess of Love, Venus,
A masked man receives a letter proposing an assignation on an island palace with a woman masquerading as a nun, Casanova, revealed to us as a Dandy in extravagant attire of opulent and decadent fashion. Although historically dark haired Fellini portrays Donald Sutherland, {with false nose and jaw}, as a convincing Casanova, a foppishly ringletted blonde. As this is a cinematic examination of the life and technique of one of the most outrageous ladies man in modern history, the viewer is immediately introduced to Giacomo's modus operandi or seduction formulae. Casanova is not a bully but is much more adept at exploiting female gullibility with poetic declarations of deep and undying love which he combined with his peacockish appearance and intimate confessions of ardent desire and you have the story of his life in a nutshell, Other attributes that also helped garner his reputation was the reputed size of his penetrative organ and the athleticism of his ability to maintain sexual intercourse for long extended periods with an economy of repeated but unvaried thrusts leading eventually to orgasm. This delaying technique similar to "karezza" and tantric practices helped spread the name of Casanova as the ultimate stud of all time.
Apart from his reputation as a sexual libertine Casanova was eloquent and funny. The ability to make people laugh has always had aphrodisiac stimulation. After the conquest of the pseudo-nun Casanova has success with a neurotic young girl whom he cures from constantly fainting with a dose of sex magic. In a later episode we are introduced to the soirée' of Madame D'Urfee who believes that impregnation by Casanova would lead to the passing of her soul to a male child and then onto immortality. Casanova had performance problems with her as she was an ancient wrinkly and his ability to raise an erection had to be assisted by one of his lovers who had to amusedly stand by his side and wiggle her rear in order to facilitate his potency. It worked and Casanova made off with one of the many fortunes he made and lost during a life of spontaneous and opportunistic self-invention.
Among the most memorable set pieces that Fellini orchestrates is a wonderful dance in exquisite costume at the dinner provided by the hunchback and a young male ballerina. The costumes throughout the movie are fantastic. After the dance Casanova voices his disagreement with the notion that the male is the tempter. Henrietta, his lover at the time {played by the gorgeous Tina Aumont} is to leave him in one of the great blows he suffered in his sexual adventures. She managed to bring some sense of emotional loss which went beyond Casanova's usual rhetorical protestations of besotted love.
The Nino Roti score of sad music box lament and Casanova's most prized possession - his phallic winged mechanical toy which like a metronome allowed Casanova to keep a steady thrust. Apart from overwhelming woman with the false flattery of his supposed personal interest Casanova also reveals in the sex competition at the Prince Del Brand's Palace that he has an energy drink containing raw eggs and ginger and cinnamon, which he uses to keep his erection for up to an hour.
What happens to the ageing Casanova hundreds of years before the coming of Viagra? In Freud's theory the sexual energy with no capacity for expression becomes channeled to more productive outlets. In Casanova's case his last 12 years were spent writing and revising his major work "The Story of my Life"
Fellini chose to give the mood of the movie a certain disappointment as if Casanova was never satisfied and always a depressive in nature, but this does not make sense, as it stands to reason that as a young man part of Casanova's attraction was as a bon vivant, raucous, bawdy, randy and full of life. However the movie is styled as Fellini's Casanova and the odyssey it depicts - the life of Casanova - has been described as the greatest autobiography ever written.
That such a man existed is historical proof that some men are closer to the gods than anyone else. Fellini gives you sumptuousness and thought, {it is reputedly Fellini's personal favorite of all his oeuvre}. However, Bunuel on viewing the movie walked out before the end. I found it interesting as a working study of satyriasis and nymphomania which are fields rarely examined by auteurs.