• Provocateur Pier Paolo Pasolini officially moved away from the neorealist-leanings in his early work for his fifth feature (and first in color)- Oedipus Rex
  • The is the first in the “mythical cycle” series (Teorema, Porcile, Medea)
  • There is very little dialogue in the film- especially part one (broken up just about exactly half-way through)— a seven minute opening without any spoken dialogue at all (though there is a creative title card giving us the inner monologue dialogue of a toddler). There’s the birth of Oedipus shot through a window, breastfeeding, and an uncomfortable (precisely Pasolini’s aim) long take with Silvana Mangano (Oedipus’ mother) enjoying it
  • Though the rating system wouldn’t change to allow for much mature content (there’s some nudity here on top of the obviously controversial subject matter) until 1969—we were well on our way already in Europe— and many directors (from the New Wave to Bunuel) had been pushing the boundaries for years. I’m sure Pasolini was encouraged watching Bunuel poke the system—or even seeing Kubrick adapt something as seemingly unadaptable as Lolita earlier in the decade (this would be a few years before Fellini’s similarly, seemingly unadaptable Satyricon (1969)
  • If the setting and shots in the desert look like The Last Temptation of Christ– they should- this was also shot on location largely in Morocco
  • Franco Citti again in the lead for Pasolini. Citti debuted in Accattone as the lead character and plays an important role in Mamma Roma. This is a loud, violent performance from Citti
  • Again, Oedipus Rex is nowhere close to neorealism and it isn’t just because Pasolini is working in color—this is a period picture based on Sophocles work. It is about prophecy—and you can tie this to Accattone and Mamma Roma– a parable, Christ figures and sacrifice (here he strikes himself blind, there is a plague)
  • At least five-six times Pasolini uses the handheld forward walking tracking shot—the strongest of which is approaching the Oracle and the lone tree (a beautiful one) in the desert. Another similar shot is when Pasolini’s camera approaches the bed (shared between Oedipus and his mother) at 78 minutes

at least five-six times Pasolini uses the handheld forward walking tracking shot—the strongest of which is approaching the Oracle and the lone tree (a beautiful one) in the desert

  • The final little modern-day coda is a strong ending. He’s cursed- and to show the distorted view of the world Pasolini uses a wide-angle camera

The final little modern-day coda is a strong ending. He’s cursed- and to show the distorted view of the world Pasolini uses a wide-angle camera

  • There’s repetition in the 360-degree camera shot in the forest with “life ends where it begins”
  • Recommend/ Highly Recommend border