TEOREMA (Pasolini, 1968)
Criterion Collection, Blu-ray, Release Date Feb 18, 2020
Review by Christopher S. Long
As in many of the greatest works of
speculative fiction such as “Jeffty Is Five,” “The Exterminating Angel,” and “Groundhog Day,” the uncanny premise
of Pier Paolo Pasoilin's “Teorema” (“Theorem”, 1968) is
neither explained nor justified in any logical fashion. It's just
assumed to be a reality in the story.
A telegram is delivered to the
patriarch (Massimo Girotti) of an upper-class family in Milan
announcing “Arriving Tomorrow”, and so The Guest (Terence Stamp)
arrives the next day. The Guest then immediately begins disrupting
the household's fragile status quo simply because that's what the
film's “theorem” posits he would do.
Emilia (Laura Betti), the family maid,
ogles The Guest while he lounges about at full manspread. He reads
Rimbaud, book cradled at crotch level (Stamp's “power angle”
features prominently in the film), and Emilia is driven into a frenzy
by his Rimboner. She flits frantically about the palatial estate,
failing in her assigned chores, then races into the kitchen to
asphyxiate herself at the stove. The Guest intuits what she's doing
and rushes to save her, or perhaps he wants to preserve her for
future torment. We don't know enough to guess which, and we never
will. In either case, he makes love to her instead.
Rarely speaking, but always piercing
the soul with his sky-blue-eyes, The Guest systematically seduces
each member of the household, including the factory-owner husband,
wife Lucia (Silvana Mangano), daughter Odetta (Anne Wiazemsky), and
son Pietro (Andres Jose Cruz Soublette). Surprisingly, Pasolini
leaves a lot to the imagination, and the film's scandalous reputation
(it was banned in Italy) derives from its basic premise rather than
its graphic content. After securing his conquests, the Guest then
abruptly departs, leaving the second half of the film to follow each
of the characters as they descend into madness, now left rudderless
in a world without their beloved stranger.
Is he devil or angel? Pasolini coyly
described The Guest as just “a boy” but also referred to his
arrival as, in effect, the traumatic injection of authenticity into
the shallow lives of the sheltered bourgeois family. Ejected from the
Eden of their blissful ignorance, they struggle to make meaning out
of their lives now that they have knowledge of real pleasure. Odetta
begins measuring the lawn with a tape ruler. Pietro starts painting
increasingly deranged abstract art, a project that includes pissing
on a canvas (sorry, Andy, you weren't the first). I'll let you
discover what happens to Emilia on your own.
The film jumps around in time, though
that's not clear until near the end, and also shifts from a muted
palette to a sepia interlude and then to lush color at the party that
introduces The Guest. Stamp's blue eyes may be the film's most
enduring image and its greatest special effect. The music, composed
and selected by Ennio Morricone, also runs the gamut from jarring
electric guitar to somber Mozart, most of it working to defamiliarize
the domestic setting.
Pasolini's theorem isn't a particularly
persuasive one, at least as sociopolitical critique. If it just boils
down to Pasolini's claim that “a member of the bourgeoisie,
whatever he does, is always wrong” that isn't exactly a testable,
rejectable hypothesis. Viewed more as Bible-inflected science-fiction
as filtered through a Marxist lens, “Teorema” is quite
thought-provoking, in no small part because it resists any pat
psychological motivations. “The Book of Job” and “Stranger In A
Strange Land” meet up to wrestle with the class struggle, and all
that's left to do in the end is to strip naked and scream into the
void. Sounds like a blast. Is it any wonder the pope condemened it?
Video:
The film is presented in its original
1.85:1 aspect ratio. “This new digital transfer was created in 4K
resolution … from the original 35 mm camera negative at Cinecitta
in Rome.” The film shifts color palettes a few times, and this
high-def transfer does a good job of capturing its full range of
tones. Most of the film is shot with bright colors, and they pop
here, especially Stamp's blue eyes. Another strong Criterion
transfer, as usual.
Audio:
The linear PCM mono track provides a
flat but clear sound. Both dialogue and the Morricone music are
cleanly mixed. Listeners can also choose the English dub which isn't
as sharp, but still sounds good. Optional English subtitles support
the Italian audio.
Extras:
The film is accompanied by a commentary
track by Robert C. Gordon author of “Pasolini: Forms of
Subjectivity” which was recorded in 2007 and originally included on
a BFI release of “Teorema.”
The disc includes a brief introduction
(2 min.) which is really a snippet of a 1969 interview with Pasolini
in which he describes the film as a “parable” or “enigma” but
mostly avoids providing much of an interpretation.
Another feature from the 2007 BFI disc
is offered here in the form of a 33-minute interview with Terence
Stamp, which is far more substantive than most actor interviews.
Stamp discusses his work with Fellini, which first brought him to
Italy, and the ways in which he brought his own philosophy to the
character of The Guest, something he needed to do since Pasolini was
reluctant to tell him much about the character (and also secretly
filmed Stamp even while not acting).
We get one brand new feature, an
interview (16 min.) with John David Rhodes, author of “Stupendous,
Miserable City: Pasolini's Rome.” Rhodes discusses some of
Pasolini's influences (Marxism, etc.) and also touches on the film's
importance in queer criticism/film history.
The slim fold-out booklet includes a
remarkable essay by critic James Quandt, always a must-read on any
topic.
Final Thoughts:
Any movie condemned by the pope has to
be worth seeing, right?
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