
Pasolini’s "Arabian Nights" – “The Flower of a Thousand and One Nights” is a lush, carnal reincarnation that feels retro-fresh
. There is nothing “perfect” about this film which is its allure. Perfection is boring. Upright cocks and hairy bush, wild-eyed actors… The film is so real and full of human yearning…it’s a reminder of the lustful power of story, of real fleshly and human connection…and the yearning of impossible passion…The movie is full of eternal lustings in full flagellation. Not nearly as sadistic as “Satyricon” (Fellini), Pasolini exposes the beauty of the sexual body through the conduits of the heart and the mind. The realness and absolute earthiness of this film make it a life-changer. Something you won’t soon forget, like
Chet Baker’s “Almost Blue” or Calvino’s “Invisible Cities.”
I admit that I dosed off in the middle of it (it was the wee hours of the morning), but it was like a continuation of a dream. My head fell against Damien’s chest*, his arm still around me and I drifted from the sands of Yemen and camel’s crossing the desert into a warm, sensuous slumber. I felt his hand caressing my shoulder and I fell off to sleep in that half-awake way; fully aware of the present reality, the room, the movie playing on the laptop, the weight of his body against mine…and aware of the drifting, co-mingling of realities and film into REM dreams…I woke up to feeling his fingers pinching my nipples lightly and his heavy breath in my ear as he kissed my cheek.
This film reminds me of afternoons with a new lover…yet undiscovered desires.
In our immediate gratification society, we look to porn with regimented routines and positions to get us off and moving on to our next task within our cubicle. That’s why watching Pasolini’s Arabian Nights is a salve over necessary wounds. Sex – passion, and most definitely love - is under-nourishing without story…
*Herewith all names of friends, lovers and families will be changed to protect their privacy.