Teorema

1968

Drama / Mystery

152
IMDb Rating 7.2 10 10,996

Synopsis


Downloaded times
May 11, 2020

Cast

Silvana Mangano as (archive footage)
Terence Stamp as Bernadette
720p.BLU 1080p.BLU
902.23 MB
1280*720
Italian 2.0
NR
23.976 fps
98 min
P/S N/A / N/A
1.64 GB
1920×1080
Italian 2.0
NR
23.976 fps
98 min
P/S N/A / N/A

Movie Reviews

Reviewed by jpm-onfocus 9 / 10 / 10

Teorema and Apartment Zero

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 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.

Reviewed by uhmartinez-phd 9 / 10 / 10

An Angel With Terence Stamp's Face

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 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.

Reviewed by MOscarbradley 9 / 10 / 10

One of the best Italian films of the decade

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 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.

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