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Same
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A movie with Morricone's music
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engmov-041-045A
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PASOLINI'S MOVIES WITH MUSIC EDITED BY MORRICONE-1.2
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About Pasolini
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Films:
LE NOTTI
DI CABIRIA, 1957 - NIGHTS OF CABIRIA (co.sc., uncredited,
dir. by Federico Fellini)
ACCATTONE, 1961 - Pummi
MAMMA ROMA, 1962 - Mamma Roma
ROGOPAG, 1963 (with Rosselini, Godard, and Gregoretti, the
episode 'La Ricotta')
LA RABBIA, 1963
COMIZI D'AMORE, SOPRALLUOGHI IN PALESTINA (1964)
IL VANGELO SECONDO MATTEO, 1964 - THE GOSPEL ACCORDING TO
ST. MATTHEW - Matteuksen evankeliumi
LE STREGHE, 1966 - THE WITCHES (ep. LA TERRA VISTA DALLA LUNA)
UCCELANI ET UCCELINI, 1966 - HAWKS AND SPARROWS - Haukat ja
varpuset
EDIPO RE, 1967 - OIDIPUS REX
TEOREMA, 1968 - THEOREM - Teorema
CAPRICCIO ALL'ITALIANA, 1968 (ep. CHE COSA SONO LE NUVOLE?)
AMORE E RABBIA, 1968 (ep. LA SEQUENZA DEL FIORE DI CARTA)
PORCILE, 1969 - PIGSTRY - Sikol?tti
MEDEA, 1970
IL DECAMERON, 1971 - THE DECAMERON - Decamerone
RACCONTI DE CANTERBURY, 1972 - THE CANTERBURY TALES - Canterburyn
tarinoita
12 DICEMBRE, 1972
LE MURA DI SANA'A (1973)
IL FIORE DELLE MILLE E UNA NOTTE, 1974 - ARABIAN NIGHTS -
Tuhat ja yksi y?t?
SALò O LE CENTOVENTI GIORNATE DI SODOMA, 1975 - SALO OR THE
120 DAYS OF SODOM, based on Marquis de Sade's novel
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Above:The
book about Pasoli published by China
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Biography
for Pier Paolo Pasolini
Pier Paolo Pasolini achieved fame and notoriety
long before he entered the film industry - a published poet
at 19, he had already written numerous novels and essays before
his first screenplay in 1954. His first film Accattone (1961)
was based on his own novel, and its violent depiction of the
life of a pimp in the slums of Rome caused a sensation. He
was arrested in 1962 when his contribution to the portmanteau
film Ro.Go.Pa.G. (1963) was considered blasphemous, and given
a suspended sentence. It might have been expected that his
next film, Vangelo secondo Matteo, Il (1964) (The Gospel According
to St.Matthew), which presented the Biblical story in a totally
realistic, stripped-down style, would cause a similar fuss,
but in fact it was rapturously acclaimed as one of the few
honest portrayals of Christ on screen (its original Italian
title pointedly omitted the Saint in St. Matthew). Pasolini's
film career would then alternate distinctly personal (and
often scandalously erotic adaptations of classic literary
texts) Edipo re (1967/I) (Oedipus Rex), Decameron, Il (1971),
Racconti di Canterbury, I (1972) (The Canterbury Tales), Fiore
delle mille e una notte, Il (1974) (Arabian Nights) with his
own more personal projects, expressing his controversial views
on Marxism, atheism, fascism and homosexuality, notably Teorema
(1968) (Theorem), Pigsty and the notorious Salò o le 120 giornate
di Sodoma (1976) (Salo, or The 120 Days of Sodom), a relentlessly
grim fusion of Mussolini's Fascist Italy with the Marquis
de Sade which was banned in Italy (and many other countries)
for several years. Pasolini was murdered in still-mysterious
circumstances shortly after completing the film.
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An
E-mail from Italian friend
Angela
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We
have received an E-mail from an Italian friend
Angela on April 5,2007: |
Wonderful
site!!
I write from Italy and my site is www.pasolini.net
Thanks for your fine pages on Morricone and Pasolini!
Complimenti e auguri. |
The
E-mail address of
Angela
and his web site is angela.molteni@fastwebnet.it |
We
have visited the web site, this is a professional
web site about Pasolini, its content is very abundance,
it has 6 kinds of letters: Italy, English, French,
German, Czech and Brazil. You can enter from
here so that to select letter, I believe that
you will get much results about Pasolini there. (
You also can enter a few cut images got by us from
the web site for convenient browse some web pages:
01
Main page, 02
Select letters, 03
English page)
Wish
Angela
and his site every success in future!
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Our
web site also have some pages about Pasolini, but they
only are Chinese, If you are interested it, you can
enter here to see it. |
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PASOLINI'S
MOVIES WITH MUSIC EDITED BY MORRICONE 5-1
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Teorema
/ Theorem (1968)
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68-08-official
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Relative
music page
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IMDB(English)
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IMDB(Chinese)
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Note
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About
the movie from IMDB
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Overview
Director:Pier
Paolo Pasolini
Writers:Pier
Paolo Pasolini (novel)
Pier Paolo Pasolini (screenplay)
Release
Date:7 September 1968 (Italy) more
Genre:Drama more
Tagline:There are only 923 words spoken in "Teorema"
- but it says everything!
Plot Summary:A strange visitor in a wealthy family. He seduces
the maid, the son, the mother, the daughter and finally the
father before leaving a few days after... more
Plot Synopsis:This plot synopsis is empty. Add a synopsis
Plot Keywords:Sex / Miracles / Family Crisis / Male Nudity
/ Factory more
Awards:1 win & 1 nomination more
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Additional
Details
Also Known
As:Theorem
more
Parents Guide:Add content advisory for parents
Runtime:105 min / Finland:99 min (cinema release) (1971) /
Australia:104 min / Germany:97 min
Country:Italy
Language:Italian / English
Color:Black and White / Color (Eastmancolor)
Aspect Ratio:1.85 : 1 more
Sound Mix:Mono
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Synopsis
A strange
visitor in a wealthy family. He seduces the maid, the son,
the mother, the daughter and finally the father before leaving
a few days after. After he's gone, none of them can continue
living as they did. Who was that visitor ? Could he be God
? Written by Yepok (See
here)
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A
brief and Review
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Review-1:
Scathing condemnation of bourgeois complacency. Stamp, either
a devil or a god, mysteriously appears and enters into the life
of a well-to-do Milanese family and raises each member's spirituality
by sleeping with them. Ultimately, the experience leads to tragedy.
In Italian with English subtitles. (More) |
Review-2:Teorema
translates to "theorem" in Italian, and that's an
apt metaphor for this ridiculously experimental film from auteur
Pier Paolo Pasolini.
Fewer
than 1,000 words of dialogue are spoken during the film. That
actually sounds like a lot, but the average person speaks
at a rate of 280 words per minute (probably more in Italian).
That translates to less than four minutes of dialogue during
the film's 98-minute running time.
The rest
of the film is composed of long landscape pans and abrupt
moments of action -- because there's a story here, of sorts.
Terence Stamp plays a nameless stranger (with four minutes
of dialogue, there's no time for names) who suddenly appears
on the scene of an Italian mansion, then proceeds to seduce
every member of the household. He doesn't have to do much
to get them in bed: A cocked eyebrow or just lazing on the
lawn seems to do the trick.
First
comes the maid (followed by an attempted suicide), then the
son, the daughter, mom, and dad. Later, the daughter ends
up catatonic, and the maid turns into a sort of Christ-like
character who can levitate and cure the sick. For some reason,
Pasolini would face obscenity charges for the film, though
it is lacking even the briefest of nudity. Perhaps the courts
were more offended that he turned a spinster housekeeper who
tries to suck on a gas line into a saint.
That's
a little bit of the way that I feel. Pasolini -- whose work
ranges from difficult to impossible -- is defrauding us out
of something in Teorema, but its spareness makes you work
to figure even that fact out. I'm not afraid of a little abstraction
or obtusity. Film can be an art form just like a box of Warhol
Brillo pads or a slashed Fontana canvas.
Is the
spare, chatter-free -- even story-free -- format of Teorema
an artistic statement, or is it just a gimmick tossed off
by a man who simply didn't know what to say? The truth is
probably somewhere in between. It's an earnest experiment,
but it's simply too obtuse to be a success, and too undercooked
(not to mention sloppily put together) to make much of an
impact with any but the most devoted Pasolini hanger-on. (Reviewer:
Christopher Null, more)
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The
Screen: A Parable by Pasolini: Teorema' in Premiere at the
Coronet Terence Stamp in Role of a Visiting God
By
VINCENT CANBY
Published: April 22, 1969
PIER
PAOLO PASOLINI'S "Teorema," which opened yesterday
at the Coronet, is the kind of movie that should be seen at
least twice, but I'm afraid that a lot of people will have
difficulty sitting through it even once. At least there were
some who had that problem Friday night when the film was given
an unannounced preview at the Coronet, supplementing the regular
program, headed by "The Prime of Miss Jean Brodie."It
was a disastrous combination. "Baby Love" is a straightforward,
skin-deep narrative movie that elicits conventional responses
to familiar stimuli. "Teorema" (theorem) is a parable,
a movie of realistic images photographed and arranged with
a mathematical precision that drains them of comforting emotional
meaning. For the moviegoer whose sensibilities have been preset
to receive "Baby Love"—or just about any other movie
now in first run here—"Teorema" is likely to be
a calamitous and ridiculous experience.
The laughter
the other night didn't really bother me—although that sort
of laughter always surprises me, the way I'm surprised by
audiences who go to all the trouble of getting into a Museum
of Modern Art screening of, say, "As You Desire Me,"
and then giggle at some perfectly respectable but archaic
1932 movie convention. "Teorema" is a cranky and
difficult film made fascinating by the fact that Pasolini
has quite consciously risked just the sort of response he
was given by the Coronet patrons.
To the
extent that it has a coherent narrative, "Teorema"
is the story of an upper middle-class Milanese family that
is suddenly visited by a beautiful young man (Terence Stamp)
who systematically proceeds to make love to everyone in the
family — father (Massimo Girotti), mother (Silvana Mangano),
daughter (Anna Wiazemsky), son (Andres José Cruz Soublette)
and even the maid (Laura Betti), in roughly the reverse of
that order.
Having
provided each member of the household with an apparently transcendental
experience, the young man departs, leaving each to collapse
in his own way. Because they are materialistic, rich bourgeoisie,
their collapses are elegant and terrifying. The daughter withdraws
into a catatonic state; the son withdraws into his painting,
determined to set up his own rules of esthetics that are so
mysterious he cannot be judged; the mother and father seek
to repeat their experiences with counterfeits of the young
man. However, the maid, the good, decent, believing peasant
woman, becomes sanctified.
"Teorema"
is not my favorite kind of film. It is open to too many whimsical
interpretations grounded in Pasolini's acknowledged Marxism
and atheism, which, like Bunuel's anticlericism, serve so
well to affirm what he denies. Pasolini has stated that the
young man is not meant to represent Jesus in a Second Coming.
Rather, he says, the young man is god, any god, but the fact
remains that he is God in a Roman Catholic land.
Unlike
Tennessee Williams, who toyed with a variation on this theme
in much more simplistic terms in "The Milk Train Doesn't
Stop Here Anymore" ("Boom" went the movie),
Pasolini doesn't load this film with little capsulated messages
of purple prose. There is very little dialogue in the movie—923
words, say the ads (but I'm not sure whether this refers to
the Italian dialogue or the English subtitles). Even though
Pasolini is a talented novelist and poet, the film is almost
completely visual. The actors don't act, but simply exist
to be photographed. The movie itself is the message, a series
of cool, beautiful, often enigmatic scenes that flow one into
another with the rhythm of blank verse.
This rhythm—one
of the legacies of the silent film, especially of silent film
comedy—was impossible for the Coronet audience to accept.
The seductions are ticked off one after the other with absolutely
no thought of emotional continuity. So are the individual
defeats, which are punctuated by recurring shots of a desolate,
volcanic landscape swept by sulphurous mists.
There
is also a kind of rhythm within the images. Someone seen in
right profile is immediately repeated in left profile. An
action that proceeds to the left across the screen may be
switched 90 degrees, directly away from the camera, or into
the camera. Early scenes are in black and white. Later scenes
are so muted they almost look like the old Cinecolor process,
only to go monochromatic again at the end.
"Teorema"
is a highly personal, open-ended movie, and one that is much
more interesting to me than Pasolini's earlier "Accatone"
and "The Gospel According to St. Matthew." Not the
least mysterious thing about it is why the Roman Catholic
Church's film reviewing body, the Office Catholique International
du Cinéma, originally saw fit to give it a prize, which it
later regretted. "Teorema" is a religious film,
but I think it would take a very hip Jesuit to convert it
into a testament to contemporary Roman Catholic dogma.
(More)
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The
movie file: 213M, 310K RMVB format, 94 minutes, Italian dub
and Chinese subtitle.
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See a part of the movie from CC union (1'31")
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PASOLINI'S
MOVIES WITH MUSIC EDITED BY MORRICONE 5-2
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THE
DECAMERON (1970)
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70-12
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Relative
music page
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IMDB(English)
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IMDB(Chinese)
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Note
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About
the movie from IMDB
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Overview
Director:Pier
Paolo Pasolini
Writers:Giovanni
Boccaccio (novel)
Pier Paolo Pasolini (writer)
Release
Date:1971 (France) more
Genre:Comedy / Drama more
Plot Summary:An adaptation of nine stories from Bocaccio's
"Decameron": A young Sicilian is swindled twice,
but ends... more
Plot Synopsis:This plot synopsis is empty. Add a synopsis
Plot Keywords:Painter / Cesspool / Flower Pot / Horse / Female
Rear Nudity more
Awards:1 win & 1 nomination more
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Additional
Details
Décaméron,
Le (France)
Decameron (West Germany)
Decamerone (West Germany)
The Decameron (USA)
more
Parents Guide:Add content advisory for parents
Runtime:112 min
Country:Italy / France / West Germany
Language:Italian
Color:Color (Technicolor)
Aspect Ratio:1.85 : 1 more
Sound Mix:Mono
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Synopsis
An adaptation
of nine stories from Bocaccio's "Decameron": A young
Sicilian is swindled twice, but ends up rich; a man poses
as a deaf-mute in a convent of curious nuns; a woman must
hide her lover when her husband comes home early; a scoundrel
fools a priest on his deathbed; three brothers take revenge
on their sister's lover; a young girl sleeps on the roof to
meet her boyfriend at night; a group of painters wait for
inspiration; a crafty priest attempts to seduce his friend's
wife; and two friends make a pact to find out what happen=
s after death. Pasolini is up to his old tricks satirizing
the Church, and throwing in liberal doses of life and love.
Written by Philip Brubaker {coda@nando.net}(See
here)
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A
brief and Review
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Pasolini
wrote, directed and stars in this richly textured epic based
on eight tales by 14th-century Italian writer Giovanni Boccaccio.
Pasolini weaves the stories together into a bawdy tapestry of
a medieval Italy populated by artists, priests and magicians.
Appearing in the role of the great pre-Renaissance painter Giotto,
Pasolini guides the viewer through a cinematic landscape ripe
with sensuality and irreverent humor.. First in Pasolini's "Trilogy
of Life," which also includes THE ARABIAN NIGHTS and THE
CANTERBURY TALES. Originally rated X by the Motion Picture Association
of America.(More)
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Pasolini's
'Decameron' at the Film Festival
By
VINCENT CANBY
Published: October 5, 1971
Pier
Paolo Pasolini, the Italian director, has always been something
of a puzzle for American critics, not simply because we have
to reconcile his announced Marxism with what appears to be
a kind of reformed Christianity (as reflected by the neo-realistic
"The Gospel According to St. Matthew," as well as
by the austerely allegorical "Teorema"), but because
he forces us to keep shifting critical gears. No three Pasolinis
are ever quite alike. At best, they come in pairs, like "Oedipus
Rex" and "Medea," neither of which have yet
been released here.
There
is, however, a peculiar kind of romanticism throughout all
of his films. It is a middle-class romanticism that idealizes
the spiritual and emotional freedom that Pasolini sees in
what we used to call The Common Man, who, in slightly more
straightforward, class-conscious Europe, is still The Peasant.
As if he were some medieval maiden locked in a tower, Pasolini
seems to long for the freedom to do what the simple folk do,
which, to Pasolini, evokes sexual liberation as much as anything
else.
In none
of his films has this been more apparent than in his marvelous
new work, "The Decameron," which is as close to
being uninhibited and joyful as anything he's ever done.
Taking
10 tales out of the 100 in Boccaccio's "Decameron,"
Pasolini has created one of the most beautiful, turbulent
and uproarious panoramas of early Renaissance life ever put
on film. It is also one of the most obscene, if obscene defines
something that is offensive to ordinary concepts of chastity,
delicacy and decency, although I'd hardly call the film offensive
to morals.
Pasolini's
"Decameron" is faithful to the original texts, but
it is not Boccaccio's. This is not because Pasolini has dispensed
with Boccaccio's frame, which has seven women and three men,
refugees from the plague that settled on Florence in 1348,
each tell one story a day for the 10 days they are marooned
in country villa. Pasolini uses no frame except a single setting,
Naples, where the stories grow one out of the other as do
the scenes in a frieze.
Rather,
the difference between the two works has to do with the difference
between the two works has to the delicate euphemisms of Boccaccio's
storytellers become the blunt unequivocal images of filmed
reality. The difference also has to do with Pasolini's conscious
recreation of a world that is as strange and bizarre as that
of the pre-Christian "Fellini Satyricon," which
Pasolini's film recalls by its pagan beauty, and by its concern
with life as art, if not by its comic temperament.
In his
"Satyricon," Fellini contented himself by playing
God, the artist, off screen. Pasolini is not quite so modest.
About halfway through "The Decameron" he himself
shows up as Giotto, one of the founding fathers of the Renaissance.
Thereafter we see him periodically, surrounded by his students,
at work on a giant fresco, the holy faces of which are those
of the thieves, whores, merchants, nuns, friars, rubes, deceived
husband and not-so-virginal lovers, whose stories we've been
watching.
When his
work is finally completed, Giotto is spent, drained, empty
of feeling. "Why produce a work of art," he says
to himself, "when it's so nice to dream about it?"
Pasolini's
dream is composed of the tales he tells us, takes as its theme
a frenzied Giotto nightmare, in which the artist's religious
visions are overwhelmed by the more attractive visions of
a pagan orgy.
With the
exception of Franco Citti, Ninetto Davoli and Silvana Mangano
(who appears in an unbilled cameo), the cast is mostly composed
of amateurs, for Pasolini, like Giotto, is fascinated by the
truth of unprepared faces. They are all either extraordinarily
beautiful or extraordinarily ugly, as if they were different
classes of beings. There is, however, something about their
awkwardness and self-consciousness that gives a special dimension
of truth to the film itself.
I must
say that, at the beginning of the movie, I feared we were
in for another one of Franco Zefferelli's rather fruitily
lush, medieval window displays. However, because Pasolini
is a sterner poet than Zefferelli, "The Decameron"
becomes an epic, instead of just another unruly and inverted
fashion show.
The film,
which was shown last night at the New York Film Festival at
the Vivian Beaumont Theater, will be released commercially
later in the year.
THE DECAMERON, directed by Pier Paolo Pasolini; screenplay
(Italian with English subtitles) by Mr. Pasolini; director
of photography, Tonino Delli Colli; produced by Alberto Grimaldi;
distributed by United Artists. Running time: 101 minutes.
At the Vivian Beaumont Theater, New York Film Festival, Lincoln
Center.
Ciappelletto . . . . . Franco Citti
Andreuccio da Perugia . . . . . Ninetto Davoli
Peronella . . . . . Angela Luce
Glotto . . . . . Pier Paolo Pasolini (More)
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"The
trilogy of The Decameron, The Canterbury Tales and the Arabian
Tales of 1001 Nights create a mythical world where the nature
of sex can be explored. The bawdy nature of the original stories
helps to do this, but the fact that the originals are made up
of many tales is important too. An effect that increases during
the trilogy is the use of the frame. In The Decameron we see
Pasolini, playing a pupil of the artist Giotto framing a scene
with his hands. In the next scene we se e the people in the
frame turned into a mural. Even the colors used in the film
are to suggest a Renaissance painting (contrast with the use
of color in Dick Tracy to mimic a pulp comic's ink). Ignoring
the content the trilogy are beautiful to watch. Bu t it was
the content that shocked manv people, and is the reason why
The Decameron is still on the Vatican's black list. Those on
the right were shocked by the graphic depiction of sex and those
on the left were dismayed to find a lack of ideology. Pasolini
answered them both with the comment that the 'ideology is really
there, above your heads, in the enormous cock on the screen'.
His justification for making an almost pornographic film was
that he wished to show that it is bodies that are the most revolutionary
things of all. They represent that which can not be codified.
Yet it was clear that the people in the films were not sympathetic
characters, and it becomes even more apparent in the later films,
that these people are not really human, but sexual puppets controlled
by instincts." (more)
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The
movie file :269M, 350K RMVB format, 106 minutes, Italian dub
and both Chinese and English subtitle
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See a part of the movie from CC union (7'35")
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