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The Arabian Nights
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This lush anthology of erotic tales was filmed in four countries (Iran, Nepal, Yemen, and Eritrea) over a period of more than two years. Completing the literary cycle begun by Pier Pasolini in Il Decamerone and I Racconti di Canterbury, this one is perhaps the most controversial of the lot, engendering reactions from admiration to dismissal. The connecting story deals with Mur el-Din (Franco Merli), a prince searching for his slave girl lover, Zumurrud (Ines Pellegrini), who has been kidnapped, only to disguise herself as a man, take a wife, and become ruler of a great city. Mur el-Din's quest carries him to the ends of his known world, where he listens to several stories of carnality and betrayal. The continuity and fluidity of the film depend entirely on the version screened, because several different cuts exist; producer Alberto Grimaldi insisted on a 130-minute release, whereas Pasolini and United Artists preferred the unexpurgated 155-minute version with its ten stories all intact. ~ Robert Firsching, All Movie Guide
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Review by All Movie Guide
All Movie Guide
is neutral about it.
Men are told by wise women not to do certain things; the men do them anyway and suffer consequences. It's an age-old problem with humanity, as Pier Paolo Pasolini richly illustrates in this adaptation of the fabulous tales of magic, mystery, and frequent sex. The film's stories overlap, fold in on each other, and there are occasional jumps in continuity, though this may be a consequence of reviewing a 131 minute-version, the one available on DVD, rather than the original 155-minute version. The locations, particularly the desert villages and cities of Yemen, Iran, and Eritrea, steal the show from the actors, who are rarely convincing, often reduced to giggling their dialogue. That delivery is at least amusing with the oft-repeated line by various males, "You're making me hard," as the pliant female characters minister to their sexual needs. Despite the abundant nudity (both female and male), this is hardly the sensual romp it might have been, but Pasolini's imagery compensates for the most part, and there's a wry wind-up involving mistaken sexual identity. ~ Tom Wiener, All Movie Guide
 

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