[!@#$%!]

Originally Posted by demonrail666

Have you seen Pasolini's version of Medea? That spoiled me from liking any other one. LVT's version is visually brilliant but Pasolini's is on another level altogether. Funnily enough Pasolini was as obsessed with Dreyer as LVT is but Pasolini for me transcended him while LVT's still just a fan. Only in comparison, I love LVT, but when he treads on Pasolini territory he gets put into sharp context. Like trying to do The Satyricon after Fellini.

i remember having watched it years ago. a lot of terracottas and mud buildings, i think. staged on a hillside?

my problem with pasolini has always been that he puts me to sleep. i walked out of the first movie i saw by him, the gospel according to st matthew-- maybe it got better later but what i watched reminded me of religious programming during catholic holidays in my childhood and i could suffer it no longer.

the only thing by him i ever saw completely was salò, and i only did it after extensive preparation and only by installments and i had to re-watch some parts. he's so slow he puts me to sleep every time. so, if i can guess, i probably fell asleep during his medea, which is why i have only the blurriest recollection of it.

antonioni's slowness somehow i can handle, but pasolini does me in every time. finishing salò was worth it, but it wasn't so much that i loved it, it's rather that it was a valuable educational experience on the psychology of power and domination.

also, i think pasolini was more writer than film guy-- or more theoretician even (wait, wasn't he a poet first?). the visual imagination i saw in LVT's "medea" shows the work of someone who is a filmmaker first and someone trying to make a point only second. in other words, seems to me pasolini dreamed in concepts and lvt dreams in pictures-- or maybe it was carl theodor dreyer who did and lvt just ripped him off. i need to see some CTD soon.