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Rossellini, Pasolini, Stromboli
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At the end of the film Stromboli (1950) by Roberto Rossellini, faced with the island’s hostility and a recent volcanic eruption, the protagonist Karin decides to leave. Initially resistant to the religiosity of the local inhabitants, she, in despair and lost at the top of the volcano, cries out to God for help. Eighteen years after the release of Stromboli, Pier Paolo Pasolini pays homage to Rossellini’s film in the final scene of Teorema (1968). In his version, it is the father of the family, the industrialist Paolo, who wanders, naked and lost, over the volcano. But unlike Karin, he does not call upon God: he screams. This essay compares the two scenes and explores the relationship both films establish with the volcano, which functions, to some extent, as a kind of geological unconscious.
Title: Rossellini, Pasolini, Stromboli
Description:
At the end of the film Stromboli (1950) by Roberto Rossellini, faced with the island’s hostility and a recent volcanic eruption, the protagonist Karin decides to leave.
Initially resistant to the religiosity of the local inhabitants, she, in despair and lost at the top of the volcano, cries out to God for help.
Eighteen years after the release of Stromboli, Pier Paolo Pasolini pays homage to Rossellini’s film in the final scene of Teorema (1968).
In his version, it is the father of the family, the industrialist Paolo, who wanders, naked and lost, over the volcano.
But unlike Karin, he does not call upon God: he screams.
This essay compares the two scenes and explores the relationship both films establish with the volcano, which functions, to some extent, as a kind of geological unconscious.
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