Pier Paolo Pasolini-Edipo re (1967)

A dark and riveting retelling of the classic Greek tragedy 'Oedipus Rex'. Unknown to himself, Oedipus kills his father and marries his mother. When the truth is discovered, he puts out his eyes and Oedipus wanders the streets until he is found by his daughter, Antigone, a common blind beggar. Set in Morocco, the film is a visual wonder of desert landscapes and powerful Moorish architecture. The interesting cast include avant garde film and theater director Carmelo Bene, Julian Beck from New York's Living Theater, and Pasolini himself as the High Priest.



In pre-war Italy, a young couple have a baby boy. The father, however, is jealous of his son - and the scene moves to antiquity, where the baby is taken into the desert to be killed. He is rescued, given the name Edipo (Oedipus), and brought up by the King and Queen of Corinth as their son. One day an oracle informs Edipo that he is destined to kill his father and marry his mother. Horrified, he flees Corinth and his supposed parents - only to get into a fight and kill an older man on the road... (http://imdb.com/title/tt0061613/plotsummary)




Beautifully filmed, Oedipus Rex begins in modern times, continues sometime BC, and finally ends back in the 20th century; thus presenting a sociological thesis for the viewer. (http://imdb.com/title/tt0061613/plotsummary)




Oedipus Rex is a haunting experience. The final scene on the city streets is enchanting. The scene in which Oedipus kills three Roman guards is one of the finest tapestries of tension and viscera in cinema. The acting isn't worth mentioning; this film is Pasolini's triumph. It is mainly a triumph of striking and occasionally nauseating imagery. The shifts in time periods are rather tacky and simplistic in retrospect; they are done so gracefully though. The conclusion is pulled together with beautifully written dialogue that only Paolo Pasolini could deliver. The film is not one that is easily forgotten and is sure to be remembered for a long time. (http://imdb.com/title/tt0061613/usercomments)




this film, along with Bresson's "Pickpocket," should stand as the rules of adaptation for every young director. Both films are very interpretative, but the directors aren't so naive as to think that mere plot details can constitute a film. (http://imdb.com/title/tt0061613/usercomments)



So what pushes this film beyond a mere surface-level adaptation? In this case, it takes a deep insight into the nature of Greek tragedy itself. Tragedy's dualism (the representational and the chaotic) is prevalent in all Pasolini's works, it was especially essential in his "Gospel," and I was excited to see how it played out in its own source, and the results are absolutely fantastic. Visually imaginative and so intellectually superior to its contemporaries it seems out of place in film. (http://imdb.com/title/tt0061613/usercomments)





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