A heavily symbolic and highly intellectual look at the bourgeois milieu and the effect that a mysterious visitor, Stamp, has on one specific family.
Teorema (1968)
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Reviews Counted:14
Fresh:12
Rotten:2
Average Rating:7.4/10
Runtime: 1 hr 38 mins
Genre: Foreign Films
Synopsis: The eccentric Italian director's atmospheric tale of a prominent, dysfunctional Milanese family which engineers its own destruction when a spiritually minded stranger moves in on them.
Starring: Terence Stamp, Silvana Mangano, Massimo Girotti, Anne Wiazemsky
Starring: Terence Stamp, Silvana Mangano, Massimo Girotti, Anne Wiazemsky, Laura Betti, Andres Jose Cruz Soublette
Director: Pier Paolo Pasolini
Director: Pier Paolo Pasolini
Screenwriter: Pier Paolo Pasolini
Composer: Ennio Morricone
Producer: Manolo Bolognini, Franco Rossellini
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Reviews for Teorema
The narrative, almost silent in the first half, is unusually clear for a film by Pasolini. Performance by all members of the cast are praiseworthy, though Stamp dominates the first half and Betti, the second.
You'll either find it brilliant, or maddening. And neither response would be wrong.
What would be pretentious and strained in the hands of most directors, with Pasolini takes on an intense air of magical revelation.
Highly regarded in some quarters, Pier Paulo Pasolini's Teorema is basically a film about Terence Stamp's crotch.
earnest experiment, but it's simply too obtuse to be a success, and too undercooked (not to mention sloppily put together) to make much of an impact
The movie itself is the message, a series of cool, beautiful, often enigmatic scenes that flow one into another with the rhythm of blank verse.
I don't feel ready to write about this mysterious film; perhaps, a week from now, I'll decide it is very bad, a failure. But perhaps it is the most brilliant work yet by that strange director, Pier Paolo Pasolini.
A fascinating, infuriating, cryptic allegory featuring a performance from Terence Stamp as memorable as his brilliant blue stare.
Apart from his final feature, Salo, this is probably Pier Paolo Pasolini's most controversial film, and to my mind one of his very best.
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