Edipo re

Edipo re

1967
Drama
1h 44m
Your probable score
Avg Percentile 62.69% from 284 total ratings

Ratings & Reviews

(284)
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Rated 14 Aug 2007
54
10th
Reasonably interesting when there's stuff going on (despite some horrible dubbing, hammy acting, and overall sloppiness) but in between there's a whole lot of boring blah. Endless scenes of Oedipus walking, walking, walking. And I saw the same long, slow pan of the city at least three times. Noteworthy only for the way the story is bookended by shifts between the modern and ancient world (which served no purpose that I could discern).
Rated 22 Mar 2021
80
91st
The Italian setting of the opening and closing, even the highly un-Greek Moroccan setting of the main part, the variations from the text, the way of reflecting on the themes, the strangeness of the costumes, all of this makes sense and seems interesting to this viewer. To stage Sophoclean tragedy in the modern age without becoming a museum piece is not easy, and this viewer is not sure that it could have been done much better. Perhaps Pasolini's Greek films were not well understood at the time.
Rated 11 Apr 2022
80
83rd
Pasolini clearly saw something important in Sophocles' old tale, and while I'm not sure I'm seeing the same thing, the sheer mad commitment of it and that eerie ending asks the viewer to bring their own subtext; the artist who's only happy when he chooses not to see what's going on, the unbearableness of truth. In a way, it's the same "you see but you don't understand" ending he had in Gospel of Matthew, isn't it? No wonder he had to make people literally eat shit.
Rated 26 Jul 2012
48
8th
Uuug... There's a lot here that's pretty good. The design is fantastic, the acting is strong, the camera work is solid. But it's just so boring. It just goes on and on and on. And I love the original play too. The lack of dialogue thing didn't work here. Everything felt detached and prolonged and just kind of empty. And I knew from the first 20 minutes I was going to be bored, but I stuck it through. Not worth it.
Rated 04 Apr 2009
70
71st
final scenes are stunning
Rated 24 Jan 2014
4
52nd
not particularly interesting, as it's mostly just a story without too much beyond the surface, and rather silly too. just like other pasolini movies it's rather odd without going full-on wacko, and it seems like it's almost making fun of its genre and setting.
Rated 09 Oct 2017
53
41st
A middling effort from Pasolini's middle period, a kind of mechanical adaptation of Oedipus with rugged dialogue ammended by some text inserts, poorly shot in a Moroccan desert bearing no real resemblance to the area between Delphi and Thebes. Pasolini's express goal of "primal cinema" benefits from the minimalism and rejection of psychoanalysis, but is hindered by the director's need to draw smug modern allegories. Costumes in this movie are superbly capricious.
Rated 24 Apr 2012
72
81st
fantastic and realistic.
Rated 17 Jul 2015
60
44th
Pasolini took the ancient myth of Oedipus, along with the famed tragedy of Sophocles, and made them his own. You can surely question the changes he's made to the original material, which often lead to obvious contradictions, and marvel at the cheapness of the production. But you can't ignore the potency of the story or the psychological intensity he tries and to some extent manages to insert to it via his directorial approach. This Oedipus is different and less weighty but still interesting.
Rated 08 May 2017
77
54th
The costumes and headgear used are particularly eye-catching.
Rated 19 Feb 2024
85
94th
Far out. Sophocles + camp + LSD. Great soundtrack (how much of it is a synthesiser?)
Rated 30 Aug 2017
73
78th
(Viewed on 28/06/13): Pasolini's historical films tend to have a chintzy quality that, when combined with the hysterical acting, often borders on parody. But it's precisely that gap between pretension and reality that fascinates, and E.R is a typically idionyncratic work that compels and repels in equal measure. Citti's performance is dubious, but his presence is strong, and the stark landscapes are unforgettable, as is the finale that daringly reimagines the story in a contemporary setting.

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