Teorema

Teorema

DVD - 2005 | Italian
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Terence Stamp stars in Pier Paolo Pasolini's award-winning and controversial film as a strange visitor who suddenly drops into the lives of an extremely bourgeois family. He plays both God and the Devil as he proceeds to seduce each member of the house including the maid. His divine and diabolical interaction with each character causes them to re-evaluate their belief systems and just as suddenly as he appears, he's gone.
Audience: Not rated.
Publisher: Port Washington, NY : Koch Lorber Films, [2005]
Port Washington, NY : Distributed by Koch Vision LLC
Copyright Date: ©2005
ISBN: 9781417200566
1417200561
Branch Call Number: Italian DVD FIC Teore
Characteristics: 1 videodisc (98 min.) : sound, colour ; 4 3/4 in.
digital,optical
videodisc
DVD
video file,DVD video,region 1
Language Note: In Italian with English subtitles.

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Quotes

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j
jimg2000
Nov 15, 2018

I don't know myself any more. Because what made me the same as others has been destroyed. I was like all the others, maybe with many faults.
You've made me different by taking me from the natural order of things While you were near, I didn't realise it. Now I understand, you're leaving... and knowing I'm losing you makes me aware of my difference. What will become of me from now on? The future will be like living with someone nothing to do with myself. Maybe I must probe the depths of this difference you have revealed... which is the innermost anguish of my being.
===
So, in parting, you're not destroying anything I had before... except perhaps my chaste bourgeois reputation. What do I care? But what you yourself gave me... love in my empty life... by leaving me you're destroying it completely.
===
What would happen to me if... I stripped myself of everything, gave my factory to the workers?

j
jimg2000
Nov 15, 2018

Quotes from "Pasolini racconta Pasolini (Documentary) (2005):"

The middle-class characters of Teorema, however live to the extreme consequences the situations which I live on a static level and embryo stage, ...
===
After all, the destruction of the ancient world, or rather of the real world,
is taking place everywhere. Unreality spreads through the property speculation of neocapitalism. Instead of beautiful and human Italy, though poor, there is by now something indefinable, which doesn't even deserve to be called 'ugly'. The regime is a democratic regime, etc. etc. However the acculturation, the homologation that Fascism couldn't achieve at all, today's power, that is the power of the consumer society, instead, can achieve it perfectly. destroying the various particular realities, subtracting reality to the various, to the various ways of being men which are typical of Italy, which Italy had produced through history in a very diversified way.

j
jimg2000
Nov 15, 2018

Quotes from "Pasolini racconta Pasolini (Documentary) (2005):"

You said that growing old, one becomes happy. Why?
-Because the future is shorter, and therefore there's less hope, and that's a great relief.
===

"This only can shout a prophet who doesn't have the strength to go out of a fly, whose strength lies in his degrading diversity. Only saying, or shouting, this my fate can be free and start my speech on reality."
===
Success is always a bad thing for a man. At first it can be exciting, it can satisfy certain vanities, but actually, very soon, it clearly becomes a bad
thing for a man, success.
===
On 2nd November 1975 Pasolini was killed by a male prostitute on the littoral of Ostia. In name the of the simple men whom poverty has kept pure. In the name of the grace of the future centuries In the name of the scandalous revolutionary strength of the past.

j
jimg2000
Nov 15, 2018

Quotes from "Pasolini racconta Pasolini (Documentary) (2005):"

You have faces of spoilt boys, blood will tell out. "You have the same bad look in your eyes. When yesterday, in 'Valle Giulia', you fought against the police, I was on the side of the police, because the policemen are poor men's children, they come from some places, rural or urban, that is, they are teens like you, dear all intoxicated by the victory against the young policemen who are forced to be servants."
===
I am equal to what I am in practice if I was made to stay at the feet of the world, not here among the masters, in a roundabout where Corfu and the land of Mazzoni down there, spotted with clouds, and Rome, with the Tevere like one out of a thousand Jordan rivers, get mixed up. I had to return poor, unknown, boy. In fact, I don't know how to be father, a master. My influence, my fame, is ridiculous. Father, what's happening to me...

j
jimg2000
Nov 15, 2018

"Pasolini racconta:"
We understand the agricultural metaphors of the Gospel. But talk to
someone who was born in these years, and educated in these years, about bushels, fallows, scales... In short, part of the agricultural terminology is for them incomprehensible, you need to translate it for them. Some of them don't even understand the meaning of certain words. What I mean to say is that the Gospel and Christ are expressions of an archaic, rural world which has survived for two thousand years because up to 20 years ago, after all the world was more or less still the same. There was still the passing of seasons, the farmers tilled the soil, they waited for spring to return and there was the eternal return, the problem of Good and Evil etc. etc. But in the last 5 or 6 years in Italy, in other countries even earlier, all that has been overturned. Production is no longer a cyclical fact of the soil. Production is a cyclical fact of a second nature, that is the nature of industry.

j
jimg2000
Nov 15, 2018

Quotes from "Pasolini racconta Pasolini (Documentary) (2005):"

Because the myth of Oedipus is a myth I'm interested in, violently, but it is a myth away from my life, I look at it in detachment. And then, of course, humour and myth are two ways of detaching ourselves from reality. I'm no longer involved in the oedipal myth, it is away from me.
===
I believe in progress. I don't believe in development, and above all in this
kind of development. Because... And it's that kind of development, at least, which gives my cheerful nature a tremendously sad, almost tragic side.
Because... Exactly because I'm neither a sociologist, nor a professor. I do something very strange, I'm a writer. I'm directly interested in historical changes.

j
jimg2000
Nov 15, 2018

Quotes from "Pasolini racconta Pasolini (Documentary) (2005):"

The three great fathers of Italian that is Dante, Petrarca and Boccaccio were imposed to the rest of the Italian population for reasons of literary prestige. That is, nowadays Italian is strictly unitary from a linguistic point of view, that is, a paper in Milan is written more or less in the same Italian as a paper in Palermo, but when the Italians open their mouths and speak, they speak a particular kind of Italian each, which is regional, urban, individual. But the linguistic centre of Italian, however, it has to be said, is no longer literary and is no longer Florence, but it's technical, or technological, and it's Milan. I mean, Italian is unified, according to me, above all by a technical kind of language. Let's take the word 'refrigerator', it's a language that all Italians use: from the housewives in Milan to the housewives in Palermo, they all use the word 'refrigerator'. ...

j
jimg2000
Nov 15, 2018

Quotes from "Pasolini racconta Pasolini (Documentary) (2005):"

"Ambiguity matters as long as there is the ambiguous."
===
A deserted island with a big house ... there is nothing else but to open windows in the morning, close them in the evening.
===
I, who was a spoilt boy, when I got to Rome, I was surprised, marvelled, inspired, by the presence, by the apparition of this world I didn't know. And then I took an interest in it, like in every other really impressive thing. Poets write of that. Poets write of the things which impress them.
"Another stroke of the thumb to beauty, it shapes other cheekbones, it can be felt in other foreheads, it draws other napes. But Beauty is Beauty, and it doesn't lie: here it's reborn among curly and flat-nosed souls, among skins as sweet as silk, and wonderfully grown limbs."

j
jimg2000
Nov 15, 2018

Quotes from "Pasolini racconta Pasolini (Documentary) (2005):"

Then I went, let's say, to Rome and I saw a world I had never seen before,
that is the subproletarian world. Do you know what it is?
- No.
Don't you know what it is?
- No.
It's the world of the people who work where there are no industries. In Milan, workers are proletarians. In Rome, where there are no industries, in Naples, in Sicily... the subproletarians live, instead because there are no
factories, no industries. And there, a characteristic, particular, special kind of world is, the Third World.

j
jimg2000
Nov 15, 2018

Quotes from "Pasolini racconta Pasolini (Documentary) (2005):"

Do not think that I came to send peace upon earth: I came not to send peace, but the sword. For I came to set a man at variance against his father, and the daughter against her mother, and the daughter-in-law against her mother-in-law. And a man's enemies shall be they of his own household. He that loveth father or mother more than me, and he that loveth son or daughter more than me, is not worthy of me. He that findeth his life, shall lose it: and he that shall lose his life for me shall find it.

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Comment

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j
jimg2000
Nov 15, 2018

See no need to add anything to Nursebob's comment, except recommend to watch the 2005 documentary "Pasolini and Death: A Purely Intellectual Thriller" in Special Features. Without knowing the Pasolini's thoughts in making "Teorema," my understanding of the film's characters and images was embarrassingly shallow. (See "Quotes.")

r
RoyalJellyIII
Feb 10, 2017

Probably one of the strangest movies you will ever see. Hidden implications. A cathartic look at our civilization peopled with actors not acting.

n
Nursebob
Feb 08, 2017

Viewing Pier Pasolini’s socio-religious allegory is akin to wading through a lake of molasses blindfolded—you’re never sure in which direction you’re heading and it takes an awfully long time. The bare bones story begins with a charismatic young man (Terence Stamp) who inexplicably arrives at the doorstep of a wealthy Italian family and proceeds to sleep with each and every occupant of the household, starting with the maid and working through brother, sister, mother, and father. Then, as abruptly as he arrived he leaves and in the psychic wake left by his sudden absence no one is ever the same again. We know Stamp’s character represents a god because Pasolini said so but surely the director, an avowed atheist, was not aiming for spiritual inspiration despite those religious flourishes which too often border on camp conceits. What then? Is this a dead sober parable on the transformative power of socialist ideology? The film certainly opens with enough communist rhetoric as a news crew questions the fate of the middle class while interviewing factory workers. Or is Pasolini taking a broad swipe at the fragility of the bourgeoisie when he shows one such family crumbling after a single brush with the “divine”? Off-putting in its use of apparently haphazard editing and penchant for flowery yet wooden performances and utilizing a strange musical score of sad jazz and godly choirs watered down so as to sound deliberately subliminal, this is a difficult movie to like let alone recommend. Furthermore, the years have only served to exaggerate its avant-garde eccentricities without shedding any further light on Pasolini’s motives. But flat tone and esoteric metaphors aside there is a captivating quality to his vision which welcomes analysis—however fruitless—and that scene of a nude figure stumbling and screaming across a landscape of smoke and ashes has become iconic in arthouse circles. Irony of ironies, the movie actually received an award from the Catholic Film Office which was later rescinded after the Pope grumbled about it.

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