Teorema(in Hollywood Movies) Teorema (1968) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Teorema on your mobile, tablets and ipads
Plot: 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 ? Written by Yepok Runtime: 98 min Release Date: 27 Nov 1968
Pier Paolo Pasolini is one of the greatest artists of the 20th Century. He is not generally recognized as such, but he ought to be and hopefully will be someday. At least in the world of cinema, he should have an equal position to any of the great masters.Teorema is just one reason why. It's not my personal favorite Pasolini film, but it's easily one of the best films I've ever seen. Unlike my favorites, Mamma Roma, The Decameron, and Arabian Nights, Teorema is a highly abstract film imbued in symbolism. Not that there isn't symbolism in those other films. The difference is <more>
that, in Teorema, the human element is reduced. The characters in the film are symbolic members of a typical bourgois family, the mother, father, son, and daughter and maid . One day a young man arrives at their home. Apparently they know him. They received a letter that he would be there, and they didn't think twice about it. This man played by Terence Stamp arrives during a party. When a friend asks the daughter who that boy is, she replies: "Just a boy."Over the next few days, this "boy" seduces every member of the family. He seems angelic, offering help selflessly whenever anyone feels hurt or isolated or sick. He speaks little - indeed, there is hardly any dialogue in the entire film - but is always there for the needy. The film begins with a quotation from the Bible, meant to compare the bourgeosie to the Jews wandering lost in the desert after they escaped from Egypt. The mysterious boy, is he God?Or, conversely, is he a golden calf? Or is he the devil himself? I was unsure of whether Stamp could play the character when I first read up on the film I had read the first bit of the novel, written concurrently with the film by Pasolini, before I watched the film , but, as Teorema progressed, I realized that he was perfect. Stamp has a face hanging uniquely between evil and kind-hearted. His eyes are cherubic, but his grin is diabolical. What, exactly, is this young man here to do?Well, I won't ruin it for you if you haven't seen it plus, I think I've gone on enough . Suffice it to say that the revelations and effects that are brought out by the boy's presence are profound and quite brilliant. Anyone interested in European art films of the era owes it to themselves to see Teorema. If you are more into realism, especially if you didn't like Teorema, move onto Mamma Roma, The Gospel According to Matthew, and the Trilogy of Life The Decameron, The Canterbury Tales, and Arabian Nights .
I can understand how people might react negatively to this movie and judging by other posts, some do , but I found this movie oneof the most interesting and penetrating hmm, no pun intended movies I've seen for a while. It has the right art-mystery-allegory- satire dosage, and they are very well weighed. It was justfantastic. I am not sure why IMDB categorized it under drama. Icouldn't help laughing the whole way through. I don't think this wassupposed to be taken too seriously, since it was pretty predictable,after all. It was just really interesting to see the way Pasolini <more>
playswith the Bible, Tolstoy if only he could watch it! , emotions, andsocial satire. Mozart's haunting Requiem crowned it perfectly.
This film is Pasolini's best and most explosive. (by didier-20)
This for me is Pasolini's best film. I return to it again and again. I could not agree less with the first comment posted here. It's Pasolini's most politically biting film by far, most on the line, most provocative. All out directness, no compromising. The assault on the refreshing for a Pasolini film , depiction of modern life, takes place with an arresting synthesis of ultra left wing demands for total revolution alongside Pasolini's preoccupations with the mysterious insides of religion. The enigma/stranger is said to be the symbolic "Christ" not the devil, as <more>
the previous commenter thinks. This is what gives the film it's bite, as the whole complexity of Christian revelation & conversion, is extraordinarily concocted into this figure who transforms all he touches, provoking collapse and crisis in all and everyone. The anatomy of the failure of the bourgeoisie entity is total. There is no escape from the social contradiction of the condition - Pasolini points to all the usual routes of escape and follows the logic to it's inevitable failure in each case.- he knows his stuff. - The film came out in 1968, and for me very much belongs to that white hot moment, when Euopean artistic dissenters demanded absolute social change. It sits along side films like Goddard's Le Chiniose. It's message still resonates today, in our landscape of spectral and banished Marx. Interstingly, this film was nominated for some award from the Vatican when it came out, which is amusing because Pasolini spent much time being condemned by them. It also touches on the interesting game Pasolini played when tackling the social politics of his Italy. By playing with religious ideas, Pasolini could court the Vatican's responses, but he also smuggles in hidden and ambiguous meanings which are reminiscent of the sort of game playing that went on between film makers and Communist governments in the old Eastern Block. For me that game playing is at Pasolini's best in this film, where the enigma Christ is a sexual seducer of men, women and adolescent boys and girls. Sex, madness and the Christian mystery as Marxist revolution- its a bomb! Be blown away........
An Angel With Terence Stamp's Face (by uhmartinez-phd)
Angel or demon? In any case, things are never going to be the same again. The arrival of the stranger as a catalyst and in Pier Paolo Pasolini's hands, eyes and heart a socio-sexual political fable as profound as it is outrageous. The idea of the creature that breaks into the deepest corners of our existence has been told countless times with different objectives in mind. Here, an indictment even if hopelessly affectionate of the new upper classes. The operative word is "new" due to the fact that we're in Italy and the "upper" classes have always been so for <more>
centuries at least. A past of Emperors, Princes and Popes. The new ones have an American slant in as much as they are determined by financial power. Terence Stamp is an angel/demon of extraordinary beauty and sexual might. Nobody will be indifferent to him and he will have in hand the handle to the door leading up or leading down. From the Industrialist/Head of the family, a superb Massimo Girotti, to the servant, a fantastic Laura Betti who's character is as submissive as it is allegorical will open up physically and emotionally to the stranger. Silvana Mangano, dressed in Valentino and Pucci since the early morning demeans herself in a moment that it's pure Pasolini. It is bizarre, in 2007, to imagine audiences flocking to see a movie like this but specialized audiences brought in main stream audiences to this wonderful rarity. A film with a voice, an intellectual document of its day. For fearless adventurers this film is compulsive viewing.
Watching Teorema for the first time in 2017 it gave me a chill by the influence this movie clearly had on "Apartment Zero" 1988 - A film I only discovered last year but it has become one of my favorites. I know "Apartment Zero" so well by now, that at times it felt felt is the operative word I was in their same universe. They are both socio-political psycho sexual tales. Terence Stamp and Hart Bochner even look related to each other. Colin Firth represents a Country in decadence with a past of elegant pride, Massimo Girotti represents, for me, exactly the same things <more>
for different reasons in different ways but they are both seduceable in the eyes of the stranger. To think that Teorema was made in 1968 and Apartment Zero in 1988, boggles the mind. Mine anyway.
One of the best Italian films of the decade (by MOscarbradley)
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 <more>
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.
The discreet charm of the bourgeoisie (by jotix100)
"Teorema", directed by Pier Paolo Pasolini is a an obscure film that will not gratify the casual viewer because the use of symbolism in the narrative. This film is problematic, but we are given clues at the beginning of it, so it makes a bit of a difference putting all the elements together to come to a conclusion.It was significant this film was made in 1968 at the height of the students' unrest in Paris and other places. Pasolini was influenced by what was happening as he makes a stand about what he perceived what was the evil in the society in which he lived. The film begins <more>
with a discussion about the role of the bourgeoisie and how it affected the workers. We also observe an industrial complex in Northern Italy that is empty of all activity. Like most Italian film makers, Pasolini's leanings were left of center and the communist emblem is clearly visible in the movie.The scene changes to Lucia and Paolo's villa. They are having a party in which the young man, or "the visitor", is seen lounging among the guests. This man, a handsome stranger, is seen in later scenes as having sexual relations with all the members of the wealthy family, including the maid. It's evident the father realizes what's going on between the visitor and his wife, as well as with the son and the daughter because he himself is involved with the young man.When the visitor announces suddenly his departure, the family falls apart. One of the most affected is the maid, who goes back to a place in the country where she sits for a quite some time before levitating above the house, creating a religious event in which she is probably seen as a saint, or at least miraculous. Emilia is taken to a place where she is being buried alive and her tears form a puddle on the ground.Back in the house, everyone else is affected in a different fashion. Odetta, is perhaps the one suffering the most because she falls into a comatose state clenching her fist around an object that appears to have been given to her by the visitor. Lucia, the mother, goes out in her car looking for boys for casual sex and the father also is seen at Milan's main railway station stripping bare after he has been seen cruising a male hustler, only to be seen later on running naked through a sort of barren field.Pasolini works as a minimalist in this story that seems to be saying the evil in that society is the rampant materialism. Only by shedding one's own accumulated wealth can one achieve salvation, as is the case with Paolo, the father. Or maybe being humiliated like Lucia is also a way of redemption. All these ideas float throughout the film with the music of Mozart's Requiem and the interesting cinematography of Giuseppe Rizzolini, who shot the film in long takes.Terence Stamp made an interesting appearance as the visitor/angel who knows all the people in the villa intimately. Silvana Mangano gives an excellent reading of her Lucia, a rich Italian woman. Massimo Girotti, a handsome actor, makes an excellent contribution with his Paolo, and Laura Betti, is equally effective as the mysterious Emilia.Although this is not one of Pasolini's most approachable film, it's worth a look. It's easy to dismiss Pasolini and Teorema, but this film is not a failure.
There's something haunting about "Teorema"... (by Benedict_Cumberbatch)
"There are only 923 words spoken in "Teorema" - but it says everything!", brags the tagline. It makes some sense, since Pasolini's film feels like a rhythmic visual poem with scattered dialogue. "Teorema" looks and feels like a haunting silent film integrated with sparse dialogue - failed attempts of communication and change among the characters.A beautiful and enigmatic visitor a young Terence Stamp, one of the intriguing, almost androgynous cult sex figures of the 60's, along the lines of a Udo Kier and others seduces and then leaves each member of a <more>
bourgeois family. The father Massimo Girotti, of Visconti's "Ossessione" , the mother Silvana Mangano, "Death in Venice" , the daughter Anne Wiazemsky, of Bresson's "Au Hasard Balthazar" and Godard's then wife , the son Andrés José Cruz Soublette and even the housemaid Laura Betti, best actress at the Venice Film Festival for this performance are all altered by the visitor's sexual presence in their lives, and each will try to find salvation or catharsis once they're abandoned. Their ways can be seen as an allegory of the fears and misconceptions of those trapped in their own conventions, and the tragic consequences of their failed attempts to get away - after the visitor, an hedonistic angel of death, tricked them with false hopes of sexual and emotional liberation. At least, that's how I see it - which I wouldn't dare to claim as an ultimate view on it. As enigmatic and haunting the images in "Teorema" are, they ask for repeated viewings. And just the fact that they give you enough interest for a second look, it's quite a feat. An interesting, cerebral cinematic exercise, to say the least. 8.5/10.
The magical cock of Terence Stamp (by Churlie_Chitlin)
Terence Stamp plays a mysterious house-guest of a well-to-do family consisting of a factory owner, his bored wife, their awkward teenage son, their awkward young daughter, and their histrionic maid. They all take a fancy to him, so he does what any red-blooded young man would do - he has sex with each of them one by one. After he's had his fill of bourgeois booty, he packs his things and leaves - presumably off to the next brothel-to-be. Well, as it turns out, there's something magical about old Terry's stamper. Each of the family members begins a dramatic transformation. The <more>
awkward son becomes a pretentious artist, urinating on canvases and tossing paint around with his eyes closed. The awkward daughter falls into a coma. The maid gains the powers of healing and levitation. The wife becomes a whore, and the husband gives his factory away and dubs himself "the screaming naked monk of the desert." Kneel before Zod, indeed.