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Although told quite straightforwardly, this tale is charged with political, existential and religious implications without giving any answers; a riddle of sorts.
In fact, The Visitor never seduces anyone. All five characters seduce him, one by one. This is a crucial difference.
Un ritratto accurato della borghesia italiana negli anni '60 con tutte le sue ipocrisie e segreti.
Originally, Jerry Lewis was to be cast in the Terrence Stamp role but there were scheduling conflicts, having already been signed onboard the movie "Chiacchierone" The rest is history.
A youthful Terence Stamp showcases the Italian art of sprezzatura in this slow, seductive drama from Pier Paolo Pasolini.
Much of the first half of the film is made up of suggestive page-turning and opportunistic sexual encounters, both of which form part of a wider commentary on the mysteries of allure and the animalistic nature of attraction.
Later, Theorem begins to spiral towards prophetic tragedy, charting the collateral damage of lost lust and leftover heartbreak. In some cases, the film touches upon the pain of wrestling with one's identity and sexuality. In others, it explores the psychological repercussions of a life-changing romantic encounter, gone and lost forever.
Theorem is one of Pasolini's deepest, most poetic works, hellbent on exploring the links between love and insanity. The film is let down only by its need for more wing-flapping appearances from Ninetto Davoli.
Teorema is a fascinating experiment in visual storytelling, using striking colors and disturbing imagery to detail the collapse of faith and masculinity.
A high art film by Pier Paolo Pasolini, an eccentric Italian genius from the Friuli region in northeastern Italy. This film is very abstract and should be despised by the audience. If it is understood, it can be appreciated as a brilliant film, similar to Kubrick's 2001.
Terence Stamp's "The Visitor" character is a Christ-like character visiting a bourgeois Milanese home. His sexual interactions with each member of the family trigger their ability to achieve their life ambition, goal, desire. After their individual achievements, they find themselves in the "desert" of life, since they no longer have anything to strive for. The scene of the housekeeper levitating in crucifix position over the village is particularly spine-tingling and memorable.
I don't know but everytime I watch this movie I fell in love again. Stamps trivial face as the stranger that invades the life of a typical bourgeois family in Milan is unforgettable. The film is a life changing experience, as Pasolini intended to.
Although Theorem operates on a fairly simple premise, the implications of its story are fascinatingly far-reaching. Bourgeois life is empty, especially so for the family the film centers around, until a stranger comes into their lives and upsets their stagnant existence. They all search for fulfillment after being waken up, looking for meaning through several different outlets (religion, sex, rebirth, creative expression), and none of them truly find the lasting enlightenment they're so desperate for aside from a maid's brush with the divine. None of these people are entirely correct in their attempts at finding purpose, the intersection of sexual desire and socio-political theory exposed as unknowable in a world where the constant drive for perfection is paramount, presenting a paradox that leaves humankind in the limbo Pasolini portrays here.
What you get out of Teorema will largely be based on your appreciation of it as art and how it challenged in its time. Teorema is more film-based art than an art house film (which I often rate up). As a film, I found Teorema to be tedious and unnatural / contrived and rate it down. Could easily see a contemporary art lover going the opposite way and rating it up.