The individual covers for the three films in Pasolini’s Trilogy Of Life box set, from Criterion.
Pasolini weaves together stories from Giovanni Boccaccio’s fourteenth-century moral tales in this picturesque free-for-all. The Decameron explores the delectations and dark corners of an earlier and, as the filmmaker saw it, less compromised time.
Eight of Geoffrey Chaucer’s lusty tales come to life on-screen in Pasolini’s gutsy and delirious The Canterbury Tales, which was shot in England and offers a remarkably earthy re-creation of the medieval era.
Pasolini traveled to Africa, India, and the Middle East to realize this ambitious cinematic treatment of a handful of the stories from the legendary The Thousand and One Nights.
Special Features:
- New high-definition digital restorations of all three films, with uncompressed monaural soundtracks on the Blu-ray editions
- New visual essays by film scholars Patrick Rumble and Tony Rayns on The Decameron and Arabian Nights, respectively
- New interviews with art director Dante Ferretti and composer Ennio Morricone about their work with Pasolini, and with film scholar Sam Rohdie on The Canterbury Tales
- The Lost Body of Alibech (2005), a forty-five-minute documentary by Roberto Chiesi about a lost sequence from The Decameron
- The Secret Humiliation of Chaucer (2006), a forty-seven-minute documentary by Chiesi about The Canterbury Tales
- Via Pasolini, a documentary in which Pasolini discusses his views on language, film, and modern society
- Pier Paolo Pasolini and the Form of the City (1974), a sixteen-minute documentary by Pasolini and Paolo Burnatto about the ancient Italian cities Orte and Sabaudia
- Deleted scenes from Arabian Nights, with transcriptions of pages from the original script
- Pasolini-approved English-dubbed track for The Canterbury Tales
- Trailers
- New English subtitle translations
- PLUS: A booklet featuring essays by critic Colin MacCabe; Pasolini’s 1975 article “Trilogy of Life Rejected”; excerpts from Pasolini’s Berlin Film Festival press conference for The Canterbury Tales; and a report from the set of Arabian Nights by critic Gideon Bachmann
