Oedipus Rex (Pier Paolo Pasolini, 1967)

 

Pasolini’s version of Oedipus Rex is as mesmerizing as any of his works, seeped in his extraordinary visual vitality: his people intensely and vividly present, all the more so for their lack of actorliness (even the film’s star presence, Silvana Mangano, is used primarily as a blankly impassive canvas), the settings and trappings tangibly present in all their dusty, sweating, crumbling, threadbare glory. The film’s boldest device places the historical recreation within a modern-day framework, underlining the story’s eternal urgency and ominousness, the relevance of its implication that societies built on myth-based idolatry will collapse into perversity and corruption, and also (in how the closing modern-day section emphasizes people going about their business, with even Oedipus’ guide distracted by kids playing soccer and the like) the near-impossibility of ensuring that such a message will reach the ears of those who need to hear it. For all the story’s reliance on coincidence and oracular revelation, Pasolini emphasizes rationality and investigation, spending no time on the reign of Oedipus the king, but patiently setting out the events and exchanges by which he learns the truth of his past, and how the prediction he took such steps to avoid – that of being destined to sleep with his mother and kill his father – ensnared him nevertheless (the long sequence in which Oedipus’s encounter with a party of travelers turns murderous indicates that Pasolini could have cut it as a director of action). But the film doesn’t particularly dwell on the incest: in this rendition the details of Oedipus’ fate are perhaps less impactful than the dawning sense that his self-determination was always illusionary, that his great choices and acts of courage were irrelevant to a predetermined entrapment that gradually reveals itself, Franco Citti’s Oedipus visibly straining to understand how this could all be, his ultimate self-imposed blindness an inevitable (if inadequate) response to a world far beyond his capacity to understand or to shape.