Reviewed byvaladasVote: 7/10/10
The erotic and more or less picaresque stories of which this movie iscomposed is based upon a collection of tales written in the 14th century byBocaccio an Italian writer already called the Voltaire of 14thcentury.In the Middle Ages there was a tendency later abandoned, of consideringerotic adventures under a humoristic point of view. The most common "hero"of those tales was the cuckold husband.I'm not a great fan of Pasolini. However this movie is more or lesssuccessful in depicting a series of funny situations related with eroticentanglements. Its merit is more due to the narrative form than to thestories itselves some them less funny than others. But the composition ofthe successive scenes develops in a series of pictures full of colour andmovement portraying the people in the streets in a realistic way, showingpopular types such as peasants, merchants, priests, nuns, etc. most of themwith no make-up at all which contributes to create a vivid atmosphere thatreally puts us in the middle of a mediaeval scenery.Not a masterwork but something worth to be seen anyway.
Reviewed byRighty-Sock (email@example.com)Vote: 6/10/10
This is the first of Pasolini's three feature-film adaptations ofobscene tales of antiquity, the other two being "The Canterbury Tales"and "The Arabian Nights." It contains ten of Boccaccio's most famoustales The bawdiest story concerns a merchant who back-doors hispartner's wife by promising to tell her his secret of turning a womanto a female horse and back to a woman again...
The tale of the two lovers sleeping together on the terrace is quitenice and very erotic, but the most hilarious one involves a young manwho pretends he's a deaf mute in order to get into a convent... Onceinside, he discovers that the sisters are very curious about all theexcitement the world has made over sex and want to find out if it isworth it...
The stories are quite funny and the acting is adequate especially fornon-professionals But the film's charm is in its unrefined energy Itspends as much time showing nude men as it does showing nude women,which was quite unusual for its time
Reviewed bycyberthetrVote: 10/10/10
Pasolini's films are not for everyone. They are slow moving and play onarchetypes, but I can think of no one who captures myth as well he does inhis `Trilogy of Life' (The Decameron, The Arabian Nights, and TheCanterburyTales). Pasolini does as delicious job of weaving the mythical and poeticinto everyday life. He uses real people instead of actors, and presentssexuality innocently and sensually. Staying away from the sexual violencesocommon in films of this era, and the soft porn haze we see in Hollywoodfilms today. These universal stories are presented much the way they werewritten, simply and earnestly. The effect for me has always been puremagic.
An adaptation of nine stories from Bocaccio's "Decameron": A young man from Perugia is swindled twice in Naples, but ends up rich; a man poses as a deaf-mute in a convent of curious nuns; a woman must hide her lover when her husband comes home early; a scoundrel fools a priest on his deathbed; three brothers take revenge on their sister's lover; a young girl sleeps on the roof to meet her boyfriend at night; a group of painters wait for inspiration; a crafty priest attempts to seduce his friend's wife; and two friends make a pact to find out what happen= s after death. Pasolini is up to his old tricks satirizing the Church, and throwing in liberal doses of life and love.