Director: Pier Paolo Pasolini
Starring: Franco Citti, Silvana Manoga Silvana Mangano
Duration: 105 Minutes
Award: 1967 Venice Film Festival Golden Lion Award
1968 Italian Film Press Association Silver Ribbon Award for Best Production
For the entire Western civilization, Oedipus has always been a mystery.
However, whatever the central theme of Sophocles' "Oedipus the King",
the search for truth (truth, truth, truth) is undoubtedly the basic impetus of this tragic event: Oedipus himself The pursuit of life experience and people's exploration of their own destiny.
Thus, says Heidegger, the unfolding of the play is "
a struggle between appearance (distortion and concealment) and openness (truth and being)."
In Oedipus Rex, this search for Both the process and the result boil down to a central image—the blind Oedipus.
Freud was right too. From the very beginning Oedipus was a man of desires and fears, and his divine status
was linked from the beginning to the end with his lust and family life. In this sense, the great thing about Freud's "Oedipus complex" is
that it does not make each of us an Oedipus, but it does make Oedipus a Like every
one of us, with all the humility and fragility of human nature.
The following is a quote:
However, from a political, ideological, and even sexual point of view, Oedipus cannot be identified with an ordinary and
therefore universal man. As the myth of Oedipus and the Sphinx has made clear, he is answering the Sphinx
The word "Man" mentioned in the mystery refers to a Western, civilized, male person.
As Mitchell Greenberg points out: "Linked to Oedipus
' encounter with the Sphinx, the hybrid, scourge, and turbid Other, is the defeat of the Sphinx. and expulsion from the city-state. This other, by its heterogeneity,
represents not only the dangerous femininity that seduces men with the flourishing of their youth, but in a more general sense
the whole of Eastern, female barbaric culture. With its fatal answer, Oedipus established the classical,
i.e., male ritual domination."
Thus, with final self-affirmation, Oedipus saves not only the city-state, but also the classical male ritual rule,
which made him the greatest tragic hero of the West.
This film is Pasolini's autobiographical work, in which Freud's thoughts and the Oedipus complex represented by "Oedipus" are
both expressed by Pasolini in the form of alternate narratives of myth and reality.
In particular, the pictures of the Moroccan desert are extremely magnetic. The protagonist's performance is instinctive, not speculative.
Oedipus, the son of fate, pursued with great enthusiasm the murderer of his father, only to discover that the murderer was himself.
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