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Maria Callas (Medea) and Giuseppe Gentile (Jason) in “Medea” by Pier Paolo Pasolini

Jason is very proud to get a princess Medea as a spouse. Besides, it was no easy task to kidnap her from her family and make her an accomplice in this adventure. And now he’s in full possession of this incredible woman. In this shot we see Jason and Medea after their first night together. Right after his first ejaculations/orgasms, still lying on Medea’s body Jason looks towards the viewers, as if, taking people as witnesses of his tremendous success. His face is, as if, saying – you see, how great I am? I literally came, saw her and won her over forever! And now, my disgusting uncle, the king is left with no choice but to give us a lavish wedding and big gifts! That’s how it’s necessary to live! That’s how it’s necessary to win!


Silvana Mangano (Jocasta) and Franco Citti (Oedipus) in “Oedipus Rex” by Pier Paolo Pasolini

After Oedipus’ babyhood which was spoiled by a father’s despotism and moods, and after his long travels and dangers and heroic deeds he met a beautiful woman. He desperately needs success, love, the future. He needs to become a power figure. He wants to be happy – free from the absurd rumors he was trying to run away from. While tenderly touching Jocasta who became his wife, Oedipus looks to the viewers, as if, to persuade us that he deserves his triumph over destiny – he looks for our compassion, for our support. But he doesn’t know that his hope for happiness is the ultimate trap.

Jealousy of Laius and his permanent emotional torture of Jocasta made her to hide from her husband her love for their son, to pretend that she is not loving him, that it is her husband who is the ultimate object of her admiration. And soon Oedipus lost his mother completely. His unconscious fixation on a mother figure, on a woman older than himself is connected with a lack of a mother and her love in his life. Many of us have unconscious feelings from childhood, which can be responsible for our choice of sexual object, or if we are not able to follow the convoluted logic of the unconscious semantic crystallization of our sexual desire we find (again, unconsciously) a compromise choice of an amorous object, like the heroes of Bernardo Bertolucci’s “Dreamers”, where the French brother and sister use their American friend as a substitute object for their incestuous obsession with each other, which they cannot allow themselves to realize.

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The very idea to use direct contact between character and the audience (gaze aside) is a resourceful strategy which allow the film-directors to use extra-plot characterization of personages and their internal world. Combined (verbal and gaze asides) came from the theatrical tradition. In US some talk show comedians, for example, Jack Benny, often used gaze-asides (dense look at the audience) without any accompanying remarks.

Posted on Apr, 28 2012 – Pier Paolo Pasolini’s “Edipo Re”/”Oedipus Rex” (1967) – Knowledge without Explanation Is Directed Against Those Who Need Knowledge The Most by Acting-Out Politics

Posted on Aug, 6 2014 – “Oedipus Rex” (1967) By Pier Paolo Pasolini by Acting-Out Politics

Posted on Mar 2 2015 – “Medea” (1969) by Pier Paolo Pasolini by Acting-Out Politics

Posted on Jan 26, 2014 – Pier Paolo Pasolini’s “Medea” (1969) – Medea As An Apocalyptic Muse by Acting-Out Politics