The Decameron (Italian: Il Decameron) is a 1971 anthology film written and directed by Pier Paolo Pasolini, based on the 14th-century allegory by Giovanni Boccaccio. It is the first film of Pasolini's Trilogy of Life, the others being The Canterbury Tales and Arabian Nights. Each film was an adaptation of a different piece of classical literature focusing on ribald and often irreligious themes. The tales contain abundant nudity, sex, slapstick and scatological humour.
Pasolini's intention was not to faithfully recreate the world of Boccaccio's characters but to criticise the contemporary world through metaphorical use of the themes present in the stories.[2] Stories are often changed to southern Italy and heavy use of the Neapolitan dialect is used to signify the mistreatment and economic exploitation of the poorer region by the richer northern parts of Italy.
The film was entered into the 21st Berlin International Film Festival, where it won the Silver Bear Extraordinary Jury Prize.[3] Despite the success and critical acclaim of this movie, Pasolini was upset with the numerous low quality knock offs and remakes it generated. He considered these an affront to the anti-capitalist message of the movie and would disown this movie in his final days before dying.
Score
The score was compiled by Ennio Morricone. It is composed mainly of authentic Neapolitan folk songs. The album Italian Folk Music, Vol.5: Naples and Campania compiled by Alan Lomax for Folkways records was heavily drawn from. The song Canto Delle Lavandaie Del Vomero is sung during Andreuccio's tale. The following is a list of the musical cues used in this film by Morricone:
Zesa Viola o La Zita in cerca di un marito - played over opening credits
Serenata popolare campana - played on accordion in street Andreuccio is strolling down
Canto Delle Lavandaie Del Vomero- sung by street singer in Andreuccio's tale
Canto delle olivare - heard frequently in the background during the Tale of Sir Ciapalletto
Fenesta ca Lucive - sung by Ser Ciappalletto and his Neapolitan hosts. Also sung by one of the hosts to the monk.
Ninna nanna popolare campana - heard while Lisbetta mourns for Lorenzo
Choral music is used in scenes representing the church. The Kyrie Eleison from the Tournai Mass conducted by Konrad Ruhland is used during Ser Ciappalletto's dream about the monks playing with skulls and Veni Sancte Spiritus is used during Meuccio's vision of Heaven.
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https://www.youtube.com/watch?v=14EdY9UuHvw