Pier Paolo Pasolini
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Drawing from films such as The Talented Mr. Ripley and Teorema, Saltburn wears its inspirations on its sleeve while taking it up a notch.
With more than a nod towards Pasolini’s Theorem , a tinge of eroticism and unachievable desire underscore a subversive Saltburn .
Any further familiarity with Greek mythology will merely get in the way of this slow-building, hyperstylized pastiche, which draws upon the helmer's many influences, from the ceiling of the Sistine Chapel to the gold-toned vistas of Pasolini's "Arabian Nights," with room for rich multiculti costumes (simultaneously Greek, Indian and Orc-like) and Hong Kong fight choreography in the same frame.
Two other echoes: David telling each family member what their fallen kin had told him: “He wanted me to tell you that he loved you,” parallels Conrad’s “Heart of Darkness” punchline and of course each shot of David imparting his machined poise to the mother, the father, the sister, the little brother, offers eddies of Pasolini’s “Teorema,” with Stevens acting as a latter-day Terence Stamp, who seduced house and home because it was his due.
Sleeping Beauty (2011)
Directed by Julia Leigh
influenced by Salò, or the 120 Days of Sodom (1976)
Visuals
Having taken inspiration from the aforementioned Kubrick (Eyes Wide Shut), as well as Michael Haneke (Funny Games), Luis Buñuel (The Discreet Charm of the Bourgeoisie) and Pier Paolo Pasolini (Salo) – not to mention a distinct similarity to recent Australian film, Ben Hackworth’s Corroboree – the film is delicately produced and designed, with the camera routinely sitting still amidst the icy settings; cold stately manors decorated with an assortment of bonsai plants, fancy painting frames and expensive furniture.
The Passion of the Christ (2004)
Directed by Mel Gibson
influenced by The Gospel According to St. Matthew (1965)
Visuals Characters Themes
What you wonât find in The Passion of the Christ is the formal purity of a film like Bressonâs Diary of a Country Priest or the documentary-style lyricism of Pasoliniâs The Gospel According to St. Matthew (or, for that matter, last fallâs superb The Gospel of John), but rather the color-saturated wide-screen cinematography, âimpactâ editing and amped-up digital soundtrack that are the calling cards of the high-end Hollywood studio picture.
Unlike Pier Paolo Pasolini’s The Gospel According to St. Matthew or Martin Scorsese’s The Last Temptation of Christ, the film doesn’t present Jesus as a fallible (or even three-dimensional) individual.
Why Has Bodhi-Dharma Left for the East? is proof positive, along with Michael Tolkin's The Rapture and Pasolini's The Gospel According to St. Matthew.
Both directors learned it from Pasolini’s Accattone.
A Prophet (2009)
Directed by Jacques Audiard
influenced by The Gospel According to St. Matthew (1965)
Characters
A Prophet gets a much-needed hint of ambiguity in the lead turn by Rahim, an earthy-looking non-pro who sometimes seems to be channeling Enrique Irazoqui 's lumpen prole Christ from The Gospel According to St. Matthew.
At times the plot teasingly recalls Joseph Losey's The Servant and Pier Paolo Pasoloni’s Theorem , poison-tipped parables about cunning social outcasts staging stealth home invasions against upper-class hosts.
Si bien es cierto que su representación clásica ha cambiado en el cine (papá, mamá, hijo, hija y mascota), son pocos los largometrajes que se atreven genuinamente a desnudarla y exponer los monstruos que existen en ella cuestionando al público directamente (verbigracia, Teorema, Ordinary People, Festen o August Osage County).
If we're not as well-read as bookworm Somerset--who scours through "The Canterbury Tales" and Dante's "Divine Comedy" as the plot thickens--the killer thoughtfully leaves clues to the seven sins scrawled in blood on the walls.
This strange, sadistic movie is for that rare adventurer who considers Salo (1975) essential cinema, whose idea of a wholesome, feel-good family film is Let the Right One In (2008).
Would You Rather (2013)
Directed by David Guy Levy
influenced by Salò, or the 120 Days of Sodom (1976)
Themes
Throughout David Guy Levy’s tautly done piece of trash I kept flashing on two movies, Pasolini’s Salo (for obvious reasons) and the 1932 The Most Dangerous Game, which posited Leslie Banks as a demonic deserted island overlord bent on making miserable the lives of his captive prey, Joel McCrea and Fay Wray.
How else to explain this blasphemously asinine and crudely scatological buddy pic so obsessed with bodily discharge that it makes Pasolini's Salo look like an episode of Full House?
The Matrix Revolutions (2003)
Directed by Lilly Wachowski
influenced by Oedipus Rex (1967)
Characters
When Machine components swirl en masse, we're reminded of The Swarm, and a distracting Reeves eye mishap suggests Lasik gone terribly wrong — or maybe he's auditioning for Oedipus Rex.
The Green Knight (2021)
Directed by David Lowery
influenced by Oedipus Rex (1967), Medea (1969)
Visuals
Surreal and mutinously languorous, Lowery’s acid-trip take on Arthurian legend has more in common with Pier Paolo Pasolini’s Greek-myth features ( Oedipus Rex , Medea ) than it does with J.R.R. Tolkien or T.H. White.
Surreal and mutinously languorous, Lowery’s acid-trip take on Arthurian legend has more in common with Pier Paolo Pasolini’s Greek-myth features ( Oedipus Rex , Medea ) than it does with J.R.R. Tolkien or T.H. White.
Upon Oliver’s arrival, there’s a faint comparison to Terence Stamp’s interloper in Pasolini’s Teorema (1968)—what has this sun kissed foreigner come to do to this wealth blessed mixed Italian family?
The Killing of a Sacred Deer (2017)
Directed by Yorgos Lanthimos
influenced by Theorem (1968)
Themes
Developed, produced and financed by the Irish company Element Pictures, The Killing of a Sacred Deer skewers middle-class complacency in similar ways to Pier Paolo Pasolini’s famous Teorema .
It’s “Meet the Parents” in reverse crossed with Pier Paolo Pasolini’s “Teorema,” in which Terrence Stamp seduces, one-by-one, a bourgeois family.
Babylon (2022)
Directed by Damien Chazelle
influenced by Salò, or the 120 Days of Sodom (1976)
Themes
Playing such frivolous fake-versus-real guessing games certainly helps to distract from the lunatic monotony of the film’s first 30 minutes, with all the capital-P perversions on display—from a Fatty Arbuckle-esque guest getting pissed on, to a garrulous LaRoy and Torres snorting mounds of cocaine, to a writhing wall-to-wall orgy in the mansion’s grand foyer—coming off like a pseud cineaste’s imitation of Pier Paolo Pasolini’s Salò, or the 120 Days of Sodom .
Flux Gourmet (2022)
Directed by Peter Strickland
influenced by Salò, or the 120 Days of Sodom (1976)
Themes
It is also, occasionally, where far more repellent taboos, of a kind that would not be out of place in Pier Paolo Pasolini’s Salò, or The 120 Days of Sodom (1975) or Peter Greenaway’s The Cook, The Thief, His Wife and Her Lover (1989), have been carefully contrived, much like Elle’s performances, to shock and disgust the viewer (Greenaway’s The Belly of an Architect, 1987, seems another influence, as does Greenaway’s love of rhythmic structures, ludic motifs and colour-coded stylisations).
Triangle of Sadness (2022)
Directed by Ruben Östlund
influenced by Salò, or the 120 Days of Sodom (1976)
Visuals
…getting the entire staff to take a swim, which looks as fun as Pasolini’s Saló…