IMDb > Il Decameron (1971)
Il Decameron
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Il Decameron (1971) More at IMDbPro »

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7.1/10   7,567 votes »
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Release Date:
16 September 1971 (Italy) See more »
Pasolini - Sacred and Profane See more »
An adaptation of nine stories from Boccaccio's "Decameron". Full summary » | Full synopsis »
Plot Keywords:
1 win & 2 nominations See more »
(72 articles)
User Reviews:
The Painter See more (39 total) »


  (in credits order) (verified as complete)

Franco Citti ... Ciappelletto

Ninetto Davoli ... Andreuccio of Perugia
Jovan Jovanovic ... Rustico (scenes deleted)

Vincenzo Amato ... Masetto of Lamporecchio

Angela Luce ... Peronella
Giuseppe Zigaina ... Monk
Maria Gabriella Maione (as Gabriella Frankel)
Vincenzo Cristo

Pier Paolo Pasolini ... Allievo di Giotto (as P.P. Pasolini)
Giorgio Iovine
Salvatore Bilardo
Vincenzo Ferrigno ... Giannello
Luigi Seraponte
Antonio Diddio
Mirella Catanesi
Vincenzo De Luca
Erminio Nazzaro
Giovanni Filidoro (as Giovanni Filadoro)
Lino Crispo
Alfredo Sivoli
Guido Alberti ... Musciatto, wealthy merchant
Giacomo Rizzo
E. Jannotta Carrino

Vittorio Vittori ... Don Giovanni
Gianni Rizzo ... Father Superior
Adriana Donnorso
E. Maria De Juliis
Patrizia De Clara ... Nun
Guido Mannari
Michele Di Matteo

Giani Esposito (as Giovanni Esposito)
Giovanni Scagliola
Giovanni Davoli

Monique van Vooren ... Queen of Skulls (as Monique Van Voren)
Enzo Spitaleri ... Monk
Luciano Telli ... Monk
Annie Marguerite Latroye
Gerhard Exel (as Gerard Exel)
Wolfgang Hillinger
Franco Marletta
Vittorio Fanfoni
Detlef Uhle (as Uhle Detlef Gerd)
rest of cast listed alphabetically:
Patrizia Capparelli ... Alibech (scenes deleted)
Lucio Amatelli ... (uncredited)
Giuseppe Arrigio ... Lorenzo (uncredited)
Giuliano Fratello ... (uncredited)

Elisabetta Genovese ... Caterina (uncredited)

Silvana Mangano ... The Madonna (uncredited)

Directed by
Pier Paolo Pasolini 
Writing credits
(in alphabetical order)
Giovanni Boccaccio  novel "Decameron" (as G. Boccaccio)
Pier Paolo Pasolini 

Produced by
Alberto Grimaldi .... producer
Franco Rossellini .... executive producer
Original Music by
Ennio Morricone  (as Mº Ennio Morricone)
Cinematography by
Tonino Delli Colli 
Film Editing by
Nino Baragli 
Tatiana Casini Morigi  (as Tatiana Morigi)
Casting by
Alberto De Stefanis 
Art Direction by
Dante Ferretti 
Set Decoration by
Andrea Fantacci 
Costume Design by
Danilo Donati 
Makeup Department
Iole Cecchini .... hair stylist (as Jole Cecchini)
Alessandro Jacoponi .... makeup artist
Production Management
Mario Di Biase .... production manager
Sergio Galiano .... production supervisor
Second Unit Director or Assistant Director
Umberto Angelucci .... assistant director
Sergio Citti .... assistant director
Paolo Andrea Mettel .... assistant director
Art Department
Carlo Agate .... assistant art director
Italo Tomassi .... set designer (uncredited)
Sound Department
Gianni D'Amico .... assistant sound mixer: original version
Mario Morigi .... sound mixer: original version
Pietro Spadoni .... sound
Massimo Anzellotti .... sound effects editor (uncredited)
Camera and Electrical Department
Giovanni Ciarlo .... camera operator
Giuseppe Fornari .... assistant camera
Alessio Gelsini Torresi .... assistant camera (as Alessio Gelsini)
Carlo Tafani .... assistant camera
Mario Tursi .... still photographer
Costume and Wardrobe Department
Piero Cicoletti .... wardrobe assistant
Editorial Department
Anita Cacciolati .... assistant editor
Enzo Ocone .... supervising editor
Other crew
Beatrice Banfi .... continuity
Vittorio Bucci .... production assistant
Giuseppe Anatrelli .... voice dubbing: Giorgio Iovine (uncredited)
Eugene Rizzo .... unit publicist (uncredited)
Liliana Sorrentino .... voice dubbing: Elisabetta Genovese (uncredited)
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"The Decameron" - International (English title) (imdb display title), UK, USA
"Decameron" - West Germany
"Decamerone" - West Germany
"Le Décaméron" - France
"Decameron" - Brazil (imdb display title), Portugal
"Декамерон" - Soviet Union (Russian title)
"Декамерон" - Bulgaria (Bulgarian title)
"Decameron" - Denmark (imdb display title)
"Decamerone" - Finland (video box title)
"Decamerone" - Austria
"Decameronen" - Norway (imdb display title)
"Dekameron" - Hungary
"Dekameron" - Turkey (Turkish title) (festival title)
"Dekameron" - Poland (imdb display title)
"Dekameron'un ask hikâyeleri" - Turkey (Turkish title)
"El Decamerón" - Spain
"El decamerón" - Uruguay (original subtitled version)
"El decameron" - Argentina
"To dekaimero" - Greece (transliterated ISO-LATIN-1 title)
See more »
Rated R for sensuality, and for some language (re-rating)
112 min
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:18 | Australia:R | Canada:R | Canada:16+ (Quebec) | Finland:K-16 | Italy:VM18 | Netherlands:18 (original rating) | New Zealand:R18 | Norway:16 | Norway:15 (2005) (DVD rating) | Portugal:M/16 | Spain:18 | Sweden:11 | UK:X (original rating) | UK:18 (video rating) (1988) | USA:R (certificate #30967) (re-rating) | USA:X (original rating) | West Germany:18 (nf)

Did You Know?

Italian censorship visa # 10-7-1971.See more »
Anachronisms: When Caterina sleeps with Riccardo, a tan line left by a bikini top can be seen on her back. However the bikini was not in use in 14th century Italy. Riccardo's body also shows tan lines left by wearing a pair of bathing trunks. Tan lines are also visible on the sinners cast into Hell in the dream sequence.See more »
Allievo di Giotto:Why create a work of art when dreaming about it is so much sweeter?See more »
Movie Connections:
Referenced in Adjust Your Tracking (2013)See more »


This FAQ is empty. Add the first question.
23 out of 37 people found the following review useful.
The Painter, 2 October 2005
Author: tedg ( from Virginia Beach

Film lovers know "Andrei Rublov," that Russian film about an icon painter. The beauty of the film comes in part because the filmmaker is on the same quest as his character, and that quest has as its core the discovery of beauty. The interesting thing about movies is that they create and sustain a fantasy world that lives beyond any one movie and into which we assume each movie is born. That world has its own type of beauty, one born of color and glamor and poise.

Paosolini does the same thing as Tarkovsky, but where Tarkovsky dealt with cosmic beauty and recognition, this artist has simpler goals: to engage with flesh, to flow with the simple streams of ignoble daily motion, and to discover beauty in that plain world.

Oh, what a terrific cinematic place to visit! This is a far from that collection of movie metaphors and beauty as we can go. There is no movie acting here. There is no external beauty. There is no recourse to familiar characters or representation. As usual, he draws his source material from matter that is not only before cinema, but before any popular writing.

And he works with that material outside any movie tricks. Well, he still has that Italian tendency to believe that the world is populated by characters and not situations or any sort of fateful flow. Just people who do things. Lots of little things, usually associated with pleasure.

So if you are building a world of cinematic imagination you need to have this as one of your corners. That's silly, every one of us is building a cinematic imagination — we cannot avoid it. What I mean to say is that if you are building an imagination, some of which you understand and can use, some of which you actually want and can enjoy without being sucked into reflex...

If you want to just relate to people as people and test how easy it is to find grace in the strangest of faces, then this is your movie voyage for the night.

One rather shocking thing is how the nudity works. In "ordinary" film, we thing nothing of seeing two people humping and moaning, nude pelvises grinding is the most hungry of ways. But we gasp when some genital is shown. Here, the exact reverse is found: no shyness about the obvious existence of genitals, an erection even. A sleeping girl with her hand in her lover's crotch. DIsplayed as if it were in the same cinematic territory as the faces he finds.

But when these characters lay on each other for sex, we have the most prurient of actor's postures. I think this was done simply to avoid an automatic sweep into ordinary film ways. It has that effect anyway.

I don't know anyone that chooses more interesting faces. Distinctly Southern European, odd atypical faces.

And finally, there is the bit of his own story inserted, the artist in the church. Creating scenarios of rich life. In the movie, the most amazing scenes are those that have little or nothing to do with the story. There's a "death" tableau that could be the richest single shot I have ever seen, anywhere.

Ted's Evaluation -- 3 of 3: Worth watching.

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