Hugh Griffith, Laura Betti, Ninetto Davoli

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61% liked it

1,406 ratings

Critics

71% liked it

7 critics

Unrated, 109

Directed by: Pier Paolo Pasolini

Release Date: January 1, 1972

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Flixster Reviews (57)


  • April 14, 2009
    One of Pasolini's trilogy of films exploring the story-telling tradition ("Decameron" and "Arabian Nights" are the other two), and a central storyline which is probably the most familiar of the three for British, if not other, English speaking audiences. Pilgrims assemble at a ta...( read more)vern in Southwark to begin their journey to Canterbury and the martyr's burial place.

    Chaucer's central conceit, in writing the "Canterbury Tales", was that here we have a collection of apparently devout individuals, setting out on a pilgrimage, a journey of discovery and faith, yet they find the notion so inherently boring they have to spice it up by telling one another bawdy and decidedly not very spiritually uplifting tales. The moral of the tale is in the moralities of the tellers!

    Pasolini turns the tables on poor old Geoffrey Chaucer. In this film, Chaucer is stripped of his artistic integrity and satirical pen, to become a hen-pecked husband who scribbles erotic tales for his own amusement and gratification. But, of course, the director himself plays the part of Chaucer!

    And the tales are bawdy. The costumes, settings and action is surreal. A fine actor like Huw Griffiths is reduced to a caricature by the dubbed Italian and the subtitles. Pasolini demands a melodramatic acting style, a throwback to the storytelling times - and there are moments in the film where he pays homage to Chaplin and the Keystone Cops. The bawdy, slapstick nature of comedy is timeless. And silent comedy, mime, is equally a part of a living, storytelling tradition.

    Chaucer's characters flow across the screen. The Wife of Bath is insatiable. Tom Baker reveals all, but this was before his Dr.Who days! The action descends into Hell ... a pastiche of Hieronymus Bosch's vision. Pasolini keeps returning to themes of brotherhood, deceit and deception. He explores male bonding and friendship ... and its potential for corruption. Three friends try to outwit one another, but only Death triumphs. Death is no fearful spectre, but a consummate teller of tales, a manipulator of reality.

    This is a triumphantly funny and bawdy little romp into English literature, a roller-coaster ride of individual idiosyncrasies and frailties. Exotic, surreal, and outrageous in places, it's an entertaining and engrossing film.
  • January 27, 2009
    provocative but without any reason...
  • October 20, 2008
    some funny parts, but mostly just weird. Not my cup of tea.
  • September 15, 2008
    Cradingue, inconstant, insolant !
  • February 25, 2008
    As ridiculous as this movie might look at times, this was a film that talks heavily on the youth, by slanting a piece of literature to modern times and yet retaining its medieval settings, we see a beautiful and dangerous work on the troubles of youth in their time.
  • December 14, 2007
    I loved it. Well done.
  • November 13, 2006
    non e' il mio genere,ma e' un gran film

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