Watch: Teorema 1968 123movies, Full Movie Online – A strange visitor in a wealthy family. He seduces the maid, the son, the mother, the daughter and finally the father before leaving a few days after. After he’s gone, none of them can continue living as they did. Who was that visitor ? Could he be God ?.
Plot: A wealthy Italian household is turned upside down when a handsome stranger arrives, seduces every family member and then disappears. Each has an epiphany of sorts, but none can figure out who the seductive visitor was or why he came.
Smart Tags: #sexuality #bourgeoisie #mysterious_stranger #homosexuality #allegory #parable #upper_class #surrealism #family_relationships #milan_italy #reference_to_francis_bacon #visitor #undressing_in_public #train_station #levitation #urinating_on_a_painting #clenched_fist #volcanic_landscape #camera #photo_album #reference_to_leo_tolstoy
|7.1/10 Votes: 13,995|
|81% | RottenTomatoes|
|N/A | MetaCritic|
|N/A Votes: 301 Popularity: 9.307 | TMDB|
One of the best Italian films of the decade
At the beginning of “Teorema”, in a wordless, sepia-tinged montage, we are introduced to almost all the main characters in Pasolini’s film. It’s a clever device, almost Hitchcockian, and it could be the beginning of a thriller, though being a Pasolini film we know this won’t be a thriller. The character who doesn’t appear in this montage is played by Terence Stamp but suddenly there he is right in the middle of things and his affect on everyone is profound. Who is he and why is he here? It’s never made clear, of course. Although a very physical presence his role is allegorical. Is he an angel, (there is a strong religious element in the picture), or a devil or simply a seducer since he does seem to have sex with everyone in the family, male and female, including the maid who ends up levitating and performing miracles. He certainly affords everyone a form of release, turning their lives upside down and with it their bourgeoisie pretensions. If we are going to tear down the bourgeoisie we may as well do it with sex; it’s a lot more fun than beating them to death.
Stamp, of course, remains the most beautiful thing on screen though Silvana Mangano as the mother gives him a run for his money. No-one really has to act; all they simply have to do is respond to Pasolini’s camera and, with no real narrative structure, that’s fairly easy. Sex may be Pasolin’s weapon of choice but the film is quite clearly a Marxist ‘fantasy’ and is also very obviously the work of a gay director. I’m not so sure anymore if it’s the masterpiece I thought it was all those years ago bu it stands up remarkably well and remains one of the great Italian films of its decade.
a massively confused and dull allegory on bourgeois deconstruction
Teorema brought me to a point I usually don’t get to watching films; I felt like one of these younger (or just less exposed to) film-goers who complain about the classic foreign films of the new-waves being too slow and boring. I didn’t want to though, as I’ve seen some of Pier Paolo Pasolini’s past work that did impress me quite a lot (Mamma Roma and especially Hawks and Sparrows come to mind). But Teorema is a work that treats ambiguity and allegory like it’s not as assets but defense mechanisms.
Pasolini has a theme in mind, or maybe a bunch, and they’re predicated on some mysterious figure (Terence Stamp, dubbed terribly into Italian, as apparently the rest of the mostly Italian actors are, and who has little range aside from looking like a handsome Brit) who appears to a bourgeois family one day during a party, and soon comes the comfort/sex of every member of the family (save for the father, that, among other things, is never made clear). Then, as mysteriously as he arrived, he leaves, and the family goes into a tailspin, as the daughter (Ann Wiazemsky, who makes her fairly detached performance in Au hasard Balthazar look like a telenovela comparatively) goes into a catatonic state after seeing his picture, the wife goes batty and aimless, the servant goes to some farm and sits without eating on a bench, and the father also goes into a quasi-shock.
It’s a maddening film, and not a successful one, because Pasolini doesn’t even do anything minimal to make us give one tenth of one crap about any of the characters. Is he condemning or trying to understand these emotionally deprived bourgeois, who male or female jump all over ‘The Visitor’ (un-erotically, I might add, and where’s the fun if it’s Pasolini), and then break apart when he’s not around? The performances might be bad more-so because of the script than because of a dearth of talent: Stamp has done better things, as Silvana Magnano has, but there characters have nothing to do except look awestruck, withdrawn, or in a daze that food or, to be sure, running a factor can quench. It’s not that Pasolini even does a failure as a director here- there’s one shot especially, as the father walks across the train station in a long tracking shot in a different film stock, that is extraordinary. But even Pasolini’s style is off, be it because of lack of budget or by choice, as it becomes noticeable and stupid to suddenly see the change in film-stock from the train-station long shot of the father taking off his clothes, then cutting to an obvious in-studio shot.
Maybe acid European art-house fanatics (and I say fanatics as opposed to fans) might find some great depth in Pasolini’s method to deconstructing his characters, but it’s really an exercise in frustration without a pay-off. There’s none of the morbid, scalding-hot underlying wit of a real controversial work like Salo, and once the substance starts to irk with the lack of exposition or real depth past the flailing poetic lines, one would try and look at the style for some artistic merit. But Pasolini also compromises himself by adding in supposedly subliminal (or naggingly intentional) shots of a blackened desert at times as a character stares off or just during a random moment, and there’s other bits of terrible editing as well (it might have been more effective, for example, if the shot panning up to the woman suspended in the sky didn’t suddenly cut jarringly to the on-lookers at the farm). And the cinematography almost seems to try to be compensating for what is lacking in the material with many a magisterial but often self-important shot of a character walking for minutes at length for no purpose.
And saddening good music is put to poor use. Mozart’s requiem comes up any time Pasolini wants to garner some extra emotion, and Morricone, while supplanting an unusual and intriguing jazz score, gets a similar treatment with his notes. Teorema is very disappointing, not simply as a work of social critique or religious drama but as a work from a director who can, and did, do better. It might even be his worst film.
Original Language it
Runtime 1 hr 38 min (98 min), 1 hr 37 min (97 min) (West Germany), 1 hr 39 min (99 min) (cinema release) (1971) (Finland)
Rated Not Rated
Genre Drama, Mystery
Director Pier Paolo Pasolini
Writer Pier Paolo Pasolini
Actors Silvana Mangano, Terence Stamp, Massimo Girotti
Awards 1 win & 5 nominations
Production Company N/A
Sound Mix Mono (Westrex Recording System)
Aspect Ratio 1.85 : 1
Camera Arriflex Cameras
Laboratory S.P.E.S., Roma, Italy
Film Length 2,700 m (1971) (Finland), 2,868 m
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm