Made in 1968, this provocative, highly controversial film is arguably Pasolini's most finely wrought work, an allegory bringing together his central preoccupations with politics, sexuality, society, art and the irredeemable inauthenticity of bourgeois life. Terence Stamp, an iconic figure of the liberated 1960s, plays an enigmatic stranger, both angelic and demonic, who descends on a wealthy Milanese industrialist's mansion and seduces the whole family, from peasant maid to paterfamilias. Liberation precedes demoralisation and it ends in a howl of despair. Mozart and Morricone provide the music, and there are references to Rimbaud, Tolstoy and Francis Bacon (the painter, not the essayist, though it could be either, as the family could be Baconian "hostages to fortune").
Source: http://www.guardian.co.uk/film/2013/apr/14/theorem-review-pasolini-terence-stamp
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