Three naked boys are seen among the people at a market, we see their nudity from a far distance.
A man is standing in a crowd of people, as the people are listening to an older man giving a sermon, the man stares suductively at a young boy in the crowd. The man goes over and picks a pocket of a random man and walks over and stands next to a young boy who he was earlier staring at. The man rubs his finger on the boy’s crotch (wearing a speedo pouch looking clothes) to get his attention, when the boy looks up at him the man gives the boy a seductive look and flips a coin in front of him. When the boy sees the coin, he smiles at the man. Nothing further is shown but it is strongly suggested that the man paid the boy for sexual services.
A man is seduced by a nun. She pulls aside her habit and opens her legs to display herself to him and the camera. He drops his shorts revealing his erection. He lies on top of her. A second nun opens her legs to him. We see his buttocks below his shirt tail as he thrusts into her. He is seen clothed going in out of several nuns’ rooms in order. Another nun sees him exposed as he sleeps outside. He is exposed as he follows her to a shed. She lifts his shirt for the camera to see him as he lies on top of her.
A nude woman lies on her stomach while kissing a clothed man. She performs oral sex on him as he faces away from the camera. She is still nude when she rushes away from him. The man later lifts the back of her skirt to take her in earshot of her husband. The husband thinks her instructions to her lover are really to him.
A man and woman undress for bed. Both are seen fully nude. He lies on top of her. They make love a couple of times before he goes to sleep. The camera pans slowly down. There is a close-up and two long-shots of her hand lightly grasping his genitals. When her parents awaken them, they hide themselves behind a blanket, but he lets the blanket drop to stand before them naked facing the camera for the rest of the scene.
A man is seen thrusting on top of the woman and caressing her breast as they kiss. As he rises, his genitals hang below his thighs.
Three men urinate in the woods facing the camera but from a distance.
A woman is tricked into stripping in front of her husband and another man. We see her fully nude from the front. She faces the camera as she’s crouched on all fours. We see her breasts hanging as the man fondles them and as he takes her from behind.
A man in a night shirt lies with a nude woman, but the camera can see up the shirt as he lies in bed and as he arises. The woman kneels up showing herself totally nude. When the man returns to lie on top of her, his nightshirt fails to hide his genitals.
A vision includes several men and women being cast into damnation. They are seen mostly from the back, but one man is seen in full frontal nudity.
A fully clothed man rushes into a room and strips the blanket off a sleeping woman. Though nude, she’s mostly successful in hiding herself with her hands and arms until he lies on top of her.


Film review:Translated by www.rabudo-ru.com


In terms of ideological depth and influence alone, I’m afraid it’s difficult for another person in Europe to be on the right of this master of critical realism. It can be said that among those masters of realism in the world film world, I’m afraid no one can escape the shadow of Pasolini and get rid of the influence of his critical thought. To be exact, what I want to talk about here is not the film of the Decameron, but Pasolini, the legendary master director of Italy’s “post Neo realism era”.

“Decameron”, if the historical knowledge you learned in middle school has not been fully dedicated to the teachers, you can know from the title that this is a film adapted from the famous work of the same name by the famous medieval writer Boccaccio, It is the first work of Pasolini’s “Life Trilogy” series (the other two are Canterbury Tales and Arabian Nights, which are also called “pornographic Trilogy” because of most naked scenes). There are a hundred stories in the original book, from which Pasolini carefully selected the most representative eight. Among them, a man who pretended to be a mute and sneaked into the monastery suddenly spoke, which was regarded by the nuns as a man given to them by God, and a satirical comedy criticizing the hypocrisy of the clergy; There is a love tragedy that a woman falls in love with a man and a woman’s brother finally kills a man because of the inconsistency between their social classes; A woman cheated her husband into a wine barrel and then committed adultery with others next to the barrel; Several others found the treasure at the same time. They planned to swallow the treasure alone, but ended up dead together. A light comedy that makes the most profound satire of ugly human nature In the film, Pasolini shows us a huge secular painting in medieval Europe. Whether it’s clothing, language, appearance, action, customs and etiquette, this seemingly rough film can be seen everywhere. The director’s ingenuity is unique, and his exposure and criticism of the root causes of human nature can also be said to be unprecedented intense and profound in the film, This film can be said that there is no exception in the world film world before it, and there are few comparable in the following decades. At the end of the film, Pasolini reversed the realism style before the film, inserted the story of traveling to hell in Dante’s Divine Comedy, described the suffering and madness of hell with exaggerated surrealism, and gave people an incomparable shock at both visual and sensory levels, so as to reflect on the declining humanistic spirit and declining secular morality of this era, At the same time, it is also an expression of great anxiety about the future and destiny of the whole mankind, and strikes the most urgent bell. In the film, Pasolini adopted the most primitive shooting means, adopted non professional actors, allowed the actors to perform themselves without restraint, conducted outdoor shooting and field shooting, did not modify the film dubbing, and adopted the original sound, let alone the music; What breaks the taboo most is that the erotic description in the film is not disguised at all, and the naked line drawing technique is adopted. There are even close-up shots of male reproductive organs in the film. These styles became more and more intense in the subsequent series of films, and finally reached the peak in the dying masterpiece Saro, launching a fierce attack on the lowest line of human physiology and morality.

When we discuss and understand the thought and pursuit of a director, there are often no more than two situations and means. One is from the outside to the inside, that is, first study and ponder the director’s works, and then summarize the conclusions from the works themselves, so as to confirm the director’s own ideas. There are many examples in the contemporary film world. The former Soviet Union director takovsky has always believed that his films should be communicated with the audience, and the audience should understand the director himself from the works, In his film monograph carving time, he once said: “the way the film director contacts with the audience is unique to the film… I have said that personal prejudice must be hidden: showing personal prejudice may bring immediate discussion to a film, but its significance will also lie in that short-term effect.” The second is from the inside to the outside. You have to understand the director’s own thoughts and beliefs and his growth background before you can better understand the director’s works. There is no doubt that Pasolini is the most typical one. In his films, the audience can obviously feel the director’s own position and emotion, and know what he yearns for and hates. For Pasolini, who believes in communism, his love and hate are very obvious. Although throughout Pasolini’s life, it may not be possible to simply use the word “communist”, there is no doubt that he has always stood on the side of the poor people at the lowest level of society who are subjected to endless oppression by the bourgeoisie, and he himself has expressed his position, love and hate many times. Although Pasolini spent his whole life attacking the petty bourgeoisie and the middle class in the upper middle class of society, unfortunately, he himself came from a typical petty bourgeois family, On this point, Pasolini has always been bitter and deeply ashamed: “like Moravia and Bertolucci, I am a petty bourgeois, that is, a shit egg.” Perhaps Pasolini is destined to be a mixture of contradictions, which is reflected not only between his origin and his beliefs, but also after his fame. What he hated most in his life was that the target of his films was the social middle class. However, he was faced with an unprecedented embarrassing situation: the people at the bottom of the society he sympathized with had neither the conditions to watch nor the ability to understand, but became the consumption target of the middle class, He is fond of talking about his enemies. The popularity of the film “Decameron” after it was made has well verified this point. Those petty bourgeoisie are attracted to his films. For a moment, they are the first in fashion and lead the discussion of the frenzy and vulgarity in his films into fashion. This was both unexpected and deeply shameful for Pasolini. Among all the contradictions in him, I’m afraid this is his most fundamental and his most painful.

Pasolini is not only a director, but also a famous poet and novelist. I have mentioned the word “mixture of contradictions” many times above. Looking at Pasolini’s life, I’m afraid it’s difficult to find another more accurate word. This is recognized in the world film world. Whenever people mention him, The first word I think of is often “contradiction”. As mentioned above, he came from a petty bourgeois family in Italy. His father was a fascist officer and drinker, while his mother was a peasant woman who opposed Mussolini. He emphasized his Marxist identity many times and joined the Italian Communist Party when he was young. However, in 49, he was expelled by the Italian Communist Party on the grounds of “homosexuality”. He never complained about this and was always proud of being a Marxist; He claimed to be the revolutionary left, but in the student movement in the 1960s, he declared that he was on the side of the police, because in his opinion, the so-called “sports revolution” was only a purposeless and confused impulse of the social petty bourgeoisie, and the police were the “son of the poor”. His almost every film has brought great controversy. In the early films, he was imprisoned for two months on charges of “blasphemy” for the film “soft cheese”, and the film itself was banned forever only once. However, two years later, he described Christ as a proletarian revolutionary in the gospel of Matthew, It won the Catholic Film Award for telling the Bible story in the form of proletarian revolutionary documentary, but the film was strongly protested by almost all “progressive” leftists at that time. Pasolini later compared the film with the Decameron: “the style and concept of the two films are completely indistinguishable – only sex has replaced the position of Jesus Christ.”

Pasolini’s early works were mostly based on fairy tales and ancient legends, attacking the vulgar social atmosphere, but in the middle and late stage, he began to be dissatisfied with this means of confrontation in a metaphorical way, and began to directly attack the social middle class he hated. The Decameron is the earliest example of his works of this kind. In these films, the position of “sex” is very obvious and important. In his own words, it is “a means of political struggle against the materialized and alienated rule imposed by modern capitalism on the people.” “The body is always revolutionary because it represents an essence that cannot be encoded.” (he is very similar to Chinese writer Wang Xiaobo in this regard). In 1975, after completing the “trilogy of life”, Pasolini filmed the most shocking film in his works, which can be described as the unprecedented film “120 days of Sodom” in the world. The film was adapted from the original work of the same name by Sade, a notorious erotic writer in France, In the film, with the most violent and bloody scenes, he exposed the darkest shadow and secret side of human nature to the audience all over the world, and put the topic of people’s prohibition on the table. The film is full of close-up shots of distorted and abnormal things, including violence, rape, sodomy, incest, group intercourse and even eating shit. There is no doubt that as soon as the film came out, it was boycotted all over the world and banned in all countries without exception. However, it is strange that such a film has been repeatedly mentioned and can not be forgotten by memory. In the books of those film researchers, the film seems to be a huge stone across the road, which can never be ignored and bypassed. The film is also the final masterpiece of the director. On the eve of Halloween, Pasolini’s scarred body was found in the suburbs of Rome. The news shocked the whole European literary and artistic circles. His friends, students and admirers, including Sartre, Bertolucci and Roland Bart, held a grand funeral for him, He was honored as “Saint Pierre Paul”, and Pasolini became the first person to devote himself to it in the history of film.

Pasolini is not only a director, but also a well-known poet and novelist. As early as the 1950s, he wrote the novels “the young man of life” and “the exciting life” reflecting the life of the low-level people when he worked in a middle school in the slums of Rome, and also set foot in the script (Bertolucci’s debut “death” was written by him), In the late 1950s, he published his poetry collection the ember of Gramsci and his novel violent life, making him one of the greatest contemporary writers. He has been prosecuted more than 30 times for his bad film and literary content, and his younger film masters Bertolucci, Fellini, polognini and others have been deeply influenced by him.

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