La “triste” carnalità de I racconti di Canterbury / Roberto Chiesi
Titolo
La “triste” carnalità de I racconti di Canterbury / Roberto Chiesi
Anno
2022
Descrizione fisica
fot. c., fot. bn.
Note
Numero monografico "Il Medioevo secondo Pasolini" | Chiesi, Roberto
Abstract
By adapting Chaucer’s Canterbury Tales, Pier Paolo Pasolini imprinted his poetics on fourteenth-century stories and made structural and thematic changes. A decisive reason for Pasolini's interest in Chaucer is certainly the “metaphysics of death”, which becomes a dominant tone in the film, so much so as to obscure the exaltation of popular vitality and carnality, as it would have been in the intentions of the poet-director. An exaltation that had a regressive character and that invested the past, while a pessimism weighed on his vision of the present that not even the evocations of the fourteenth-century world could dispel. In the film, eroticism never takes on that joyful and liberating character that was Pasolini's intentions. A recurring motif that also implies passivity and detachment from reality: the motif of gazing, of seeing, which becomes, in some stories, stealthily spying on the intimacy of others.
