The Decameron by Pier Paolo Pasolini, starring Vincenzo Amato, Salvatore Bilardo, Mirella Catanesi, Franco Citti, Lino Crispo: DVDNear.com

The Decameron

The Decameron
by Pier Paolo Pasolini

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DVD Cover Information

Actor: Franco Citti, Lino Crispo, Mirella Catanesi, Salvatore Bilardo, Vincenzo Amato
Director: Pier Paolo Pasolini
DVD: Region Code 1
Audio: English (Unknown); English (Subtitled); Spanish (Subtitled); French (Subtitled); Italian (Original Language), Dolby Digital 2.0 Mono
Format: Anamorphic, Color, Dolby, DVD, NTSC, Subtitled, Widescreen
Picture Format: 1.85:1
Running Time: 112 minutes
Published: 2002-11-01
DVD Release Date: 2002-11-05
Audience Rating: R (Restricted)
Studio: MGM (Video & DVD)

Movie Reviews of The Decameron

Movie Review: Nothing is better than a nightingale in your hand
Summary: 5 Stars

On a sunny day in Naples, a rich young man comes to the market to buy horses. He is tricked by a woman into believing he is her brother and he ends in the tank of the toilet, robbed and soiled. But escaping that trap he finds himself in the street and the scene turns fantastic. The women from their windows tell him to disappear and the men in the street tell him just the same. So there he runs away dressed in his underwear soaked in and perfumed with human feces. His descent to hell in a way. He hides from some nocturnal men in a barrel in some underground cellar but not for long. The men are thieves and they hire him on a mission and there the real film really starts. You will have to go and see it if you want to get the details. Who will die and who will survive, that is THE question in this cruel world. In this film you have to go down into all kinds of holes, tombs, caves, cellars. Pasolini has rewritten Boccaccio with the pen of Dante and he settles accounts with the church first of all, that Italian church that is rich though doing nothing, by doing nothing and exploiting the whole society. And society is then engaged in a simple game, that of recuperating all they can from that church, be it a benediction, be it an absolution, be it a rite of some sort but also some of the stolen money they carry in their clerical purses. So Pasolini makes his characters steal from the dead bishop, and thus steal from his stealing surviving mates. Then they steal from the people in the street, purse pickers they are. They steal some good cheer, comfort, and pleasure from the hypocritical nuns, at least as long as youth grants the young man with enough potency and power and hardness to be able to satisfy the hunger of twenty nuns. They make false confessions not to save their souls but to look good in society when they die and save some trouble to their friends. And of course they steal as much pleasure as they can and absolutely disregard the idea that it may be a sin. Never mind the sin provided we have the pleasure. And this Italy is the Italy of all crimes, of all murders and embezzlements. And of course they all manage to get through but Hell is the destination of them all and the vision of that Hell is superb and in the tradition of its representations in the churches of the end of the 15th century, after the big plague, the Black Death. And yet poetry haunts this film in the very excess it demonstrates. Excess in the language, intonations that you have to enjoy in Italian of course, but also excess in the body language, especially, but not only, facial language. These Italians speak with their full bodies, particularly their hands and their faces. Excess in desire and passion, violence and hypocrisy. Even the morbidity of some scenes becomes artistic in its extreme sadness. And his vision of Hell is superb. Scatology transformed into a great art and that's just the point. The end of the film is the final vision of the fresco some master painter was painting in a church. That painter is the one who had the vision of hell but he transformed it into a civil and elegant scene full of majesty and nobility. He can regret the vision that was so beautiful but he could not render it on the wall of the church. A beautiful film though maybe slightly nostalgic and restrained, which means not entirely free-wheeling along the easy road Pasolini would have liked to be able to take but did not take entirely or in full light.

Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines

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Summary of The Decameron

A collection of bawdy tales from Boccaccio, adapted and directed by the taboo-busting Pier Paolo Pasolini--sounds irresistible, doesn't it? Pasolini approaches the material not like a literary classic to be reverently served, but rather as if the various anecdotes were episodes from scruffy, everyday life in medieval Italy, caught on the fly, like neighborhood gossip recounted in a "taverna". The film is black-sheep kin to the director's amateur-theatrical take on Scripture, "The Gospel According to St. Matthew" (1964); both films abound in earthy settings framing vivid faces that might have gazed out of a Renaissance painting. Yet where "Gospel" was searing, "The Decameron" is perfunctory. Most of the stories dribble away absentmindedly before they've even begun to establish a situation, let alone any tension. Pasolini himself reappears periodically as an artist--Giotto--planning an epic cathedral painting. At the end, he's still thinking about it and wondering, "Maybe it's enough to dream a masterpiece rather than paint it." Which seems a handy copout for not really making the film we've been trying to watch. "--Richard T. Jameson"

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The Decameron