This film is no Salo. Pasolini creates the flimsiest framework for a series of short love stories set in the Middle East, then abandons that framework entirely. This is a lazy little romp filled with Pasolini's trademark young men + women engaging in casual rape, but it doesn't have any of the shock or horror that would imply. It doesn't help that so many stories revolve around a young man who's pubescent mongoloid features drive women from across the lands to madness + irrationality. There are far better Pasolini joints to occupy your time with (hint: see above).
Tuesday, February 20, 2007
Arabian Nights
Pier Paolo Pasolini | 1974 | 131 min | Italy
This film is no Salo. Pasolini creates the flimsiest framework for a series of short love stories set in the Middle East, then abandons that framework entirely. This is a lazy little romp filled with Pasolini's trademark young men + women engaging in casual rape, but it doesn't have any of the shock or horror that would imply. It doesn't help that so many stories revolve around a young man who's pubescent mongoloid features drive women from across the lands to madness + irrationality. There are far better Pasolini joints to occupy your time with (hint: see above).
This film is no Salo. Pasolini creates the flimsiest framework for a series of short love stories set in the Middle East, then abandons that framework entirely. This is a lazy little romp filled with Pasolini's trademark young men + women engaging in casual rape, but it doesn't have any of the shock or horror that would imply. It doesn't help that so many stories revolve around a young man who's pubescent mongoloid features drive women from across the lands to madness + irrationality. There are far better Pasolini joints to occupy your time with (hint: see above).
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