Review #910: 'Oedipus Rex' (1967)

Pier Paolo Pasolini's Oedipus Rex is a relatively faithful adaptation of Sophocles' Greek tragedy Oedipus the King. Beginning in 1920's Italy, a baby boy is born and is instantly envied by the displaced father. The setting then changes to ancient times, where a baby boy is being carried out into the desert by a servant to be left out to die from exposure. He is eventually picked up by a shepherd, who takes him back to the King and Queen of Corinth, who adopt the youngster and love him like one of their own. The child grows up to be Edipo (Pasolini's frequent collaborator Franco Citti), an arrogant youth who wishes to see the world for himself. And so he set out on the road to Thebes, the place of his birth.

Plagued by a prophecy that dictates he is destined to murder his father and marry his mother, Edipo is a tortured but intuitive soul. He murders a rich man and his guards after they demand he clear a path for them on the road, and later frees a town from the clutches of a Sphinx by solving its riddle. Staying true to his own recognisable style, Pasolini tells the story of Oedipus not with a sweeping narrative, but through a collection of comedic, violent and often surreal vignettes, the most bizarre and ultimately thrilling being the scene in which Edipo murders the guards. He runs away from them as they chase him, before charging at them one by one and cutting them down. It's a moment without any real motivational insight, offering but a glimpse into Edipo's damaged psyche.

Post-Freud, the story of Oedipus cannot be experienced without reading into the incestuous and patricidal undertones. But these themes are less explored by Pasolini than the idea of Edipo being ultimately responsible for his own downfall. Rather than the inevitability of fate, Edipo creates his own path, committing murder on a whim and marrying while blinded by ambition. For a bulk of the film, Pasolini keeps the audience at arm's length, favouring his own brushes of surrealism over a traditional narrative. While this may be occasionally frustrating - the pre-war scenes than book-end the film seem out of place and confusing - Citti's wide-eyed performance is a fantastic distraction, and the Moroccan scenery helps provide a ghostly, Biblical atmosphere as well as a beautiful backdrop.


Directed by: Pier Paolo Pasolini
Starring: Franco Citti. Silvana Mangano, Alida Valli, Carmelo Bene, Julian Beck
Country: Italy/Morocco

Rating: ****

Tom Gillespie

Review #547: 'Othello' (1952)

Considering that Orson Welles's debut feature, Citizen Kane (1941), is often cited as the best film of all time in critic lists for the past few decades, his subsequent film career was erratic to say the least. From studio interference and in cases re-editing, to funding problems, his film output was sparse, but his status as a true genius in the medium has never dissipated. Othello (his second Shakespeare adaptation, after 1948's Macbeth), was shot over a three year period largely due to the forthcoming bankruptcy of the films Italian backers, which closed production, but extra funding came from Welles himself, who used money made from acting jobs. But with the capricious production a rich and beautiful film of the Shakespeare tragedy was brought to the screen.

My knowledge and relationship with the work of the Baird is very limited. Outside of the cinema I have read 'Macbeth' and 'King Lear', and I saw a fringe production of Macbeth at the Battersea Arts Centre starring Corin Redgrave. Aside from these very narrow experiences, my other connections with the material is through film (which again mostly centre on Macbeth - Throne of Blood (1957), or Roman Polanski's version, - or Baz Luhrmann's Romeo + Juliet (1996)). Therefore my knowledge of the text of Othello was set at absolute zero, resulting in a fresh experience of the intricacies of the plot, and the relationships between the characters.

The story involves four central characters. Welles plays the title character, a Moorish General to the Venetian army, his wife Desdemona (Suzanna Cloutier) whom he secretly married, his lieutenant Cassio (Michael Laurence), and his ensign Iago (Michael MacLiammoir). After displaying his charm to the detractors off Othello and Desdemona's marriage, convincing them that he did not win her love through witchcraft, but through fantastical stories. A web of deceit builds within these characters, as they all tussle for control of both the situation and the affections of Desdemona. As the complexities of all the relationships begin to fuse, and the rage and jealousies of Othello erupt, Desdemona's want for individuality and freedom from male dominance leads to bloody conclusions.

With the erratic production came some incredible choices of production design. Filmed in Morocco, Italy and Venice, Welles made fantastic use of real locations, giving the images some urgency and architectural splendour. Filmed in black and white, the images justify the filmic function as light and shadow, the bright whites contrasting with the strong and powerful shade and silhouette. In the opening scene, the funeral procession moves in stark contrast to the burning sun in the sky. It is beautifully shot, utilising the remnants of building and the weaving canals through the structures of Venice, it is (I assume) a wonderful introduction to this very elaborate and involving narrative. Now I think I need to read some more Shakespeare.


Directed by: Orson Welles
Starring: Orson Welles, Micheál MacLiammóir, Robert Coote, Suzanne Cloutier
Country: USA/Italy/France/Morocco

Rating: ****

Marc Ivamy