This film version of “Titus Andronicus” is loaded with scenes of very graphic sex/nudity, including one horribly disturbing and explicit scene of sexual violence.
Full frontal male nudity is visible on men at a public bath in one scene
The party room in the palace is adorned with sexually explicit murals in the style of ancient Greece.
An extremely explicit rape scene, followed by the rapists cutting off the girl’s hands and tongue. One of the rapists taunt her by waving his buttocks at her. Extremely explicit even in the cut version.
There is an orgy sequence in which many people, including major characters, of both sexes are seen totally nude and at various angles. Many appear to be performing various sex acts. One close-up of a woman performing fellatio on a man (censored in some versions along with other scenes).

Two men are seen from behind hanging naked upside down awaiting execution.


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


Titus Andronicus is almost the most neglected drama under Shakespeare’s fame. Some people even refuse to admit that it was written by Shakespeare. It has hardly been put on the stage since the 17th century. On the contrary, in the last century, the play became unexpectedly lively. In 1923, the British Old Vic troupe forced the play in order to perform the complete works of Shakespeare. When the audience saw that the last good and bad people on the stage fell to the ground one by one in five seconds, they couldn’t help laughing. In 1955, Peter Brooke invited Lawrence Oliver, Vivien Leigh and other celebrities to perform the play. On the one hand, the British Shakespeare Theatre wanted to create another glorious record of performing all Shakespeare plays with one troupe. On the other hand, the extreme cruelty of the play attracted the director to experiment with the ideal of cruelty theatre.

How cruel and weird is the play? Look at the following plots: the two sons of Goth queen Tamora raped Lavinia, the daughter of Titus. In order to make Lavinia unable to speak, she cut off her tongue. In order to make her unable to write, she cut off her hands and inserted branches into her broken limbs; Titus finally got a chance to revenge. After he drained Tamora’s son’s blood drop by drop, he made his meat into a big meal to entertain Tamora

How crazy, Shakespeare’s first Roman tragedy, once optimistic and clear, gradually faded. However, after all, it is still young. Even hatred is so vigorous. The gloomy sadness and anger without time to precipitate and modify is paved with magnificent blood on the stage. This frenzy, this distortion, is exactly what the film industry wanted at the end of the last century.

In 1999, Broadway female director Julie Taymor put the play on the screen. In the fragrance of the body, there are many conspiracies – the evil of the people’s heart is too dark to see any light. Actors in modern costumes shuttle through those highly installed props. In motorcycles, guns, refrigerators, walkmans, billiards tables, microphones and Pepsi Cola, cruelty has a faint color of carnival. Lavinia, who had her tongue cut off and her hands cut off, turned around and was dressed in white. Once she opened her mouth, she saw blood gurgling out – this scene is so beautiful. Lavinia in suffering is more beautiful than Lavinia before and after. Do you believe that the director has no intention to achieve this violent aesthetics? Seeing me, I couldn’t help smiling.

Everyone has a black spring in his heart. Evil can’t be whipped, because it is fed by everyone’s heart, just as crows are fed at night – this is probably the vague theme of many contemporary avant-garde films. No wonder Shakespeare’s play was rehabilitated in this era. The film industry with hundreds of millions of tons of plasma has become the spiritual food of our contemporary people. The more cruel, the more beautiful.

I’ve heard that if a person jumps off a building to commit suicide, he will lose consciousness in the process of falling, so as to meet the pain of hitting the ground in ignorance – this may be the significance of that kind of laughter under the stage of the British Old Vic Theatre in 1923. It’s too bloody, so laugh. In the laughter, we welcome the bloody on the screen again and again, preview again and again, in order to anesthetize ourselves at the moment of realization.

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