In the Kingdom of Longtrellis, the King and Queen cannot conceive a child. A necromancer suggests that if the Queen eats a sea dragon's heart cooked by a virgin, she will be with child, but this will cost a life. The King slays the sea dragon but dies from his wounds. The Queen eats the heart and the next day bears a son, Elias, with hair as white as the dragon. The cook also gives birth to a boy, Jonah. The boys are identical and inseparable friends. This so vexes the Queen that she attempts to murder Jonah, though he manages to escape. Jonah leaves the kingdom, plunging a knife into a tree root and telling Elias that as long as the root spouts clear water, he is alive and well. One day, the water is clouded with blood. Elias leaves to find Jonah. The Queen has her subjects search for Elias to no avail. The necromancer blames the Queen and says the youths are truly inseparable and that her violent desire can be achieved only through violence. Elias finds Jonah wounded in a cave. They are threatened by a monster, which wounds Jonah but hesitates to attack Elias, who kills the monster and returns Jonah to his wife. In the cave, the monster's corpse dissolves into that of the Queen.
The lustful King of Strongcliff is intrigued by the sound of a woman's heavenly singing. He courts her outside her home, unaware that she is one of two elderly sisters, Imma and Dora. Dora agrees to spend the night with him as long as it is in complete darkness. He is horrified when he sees her appearance the next morning and has his guards throw her out of a cliffside window. She survives, entangled in the branches of a tree. A witch rescues her and nurses her from her breast. Dora awakens as a young, beautiful maiden. The King comes upon her while hunting and decides to make her his Queen. Dora invites Imma to the wedding and promises to take care of her, but says she can not stay in the castle. Imma refuses to leave, asking for the secret to her sister's youth and beauty. In annoyance, Dora says she got herself flayed. Finally thrown out after violating the royal couple's privacy in their bedroom, Imma finds someone willing to flay her, leaving her bloody and disfigured.
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The King of Highhills becomes fascinated by a flea, which he hides in his room as a pet. It grows gigantic under his care. When it dies, the King decides to skin it. His daughter Violet tells him she wants to be married, so he offers her as a bride to whoever can guess from what beast the skin was taken, believing no one can do so. However, an ogre correctly identifies the hide by smell. Violet is horrified, but her father says he can not go back on his word. Violet goes through with the marriage but says her father never loved her. The ogre takes Violet to his cave, where she is kept prisoner. A family of acrobats helps her to escape, but the ogre gives chase and kills the entire family. He is mollified by Violet, who then slits his throat. Violet returns to the castle, where the King has grown ill and reveals she has the head of the ogre, the husband he "chose" for her. The King falls to his knees crying, and the courtiers follow suit. Violet, too, begins to cry.
Elias, Dora, and the King of Strongcliff are among the guests for Violet's coronation as Queen. There, Elias nods to her and the King of Strongcliff. As Violet's father walks her to the throne, the crowd looks skyward, where an entertainer is walking a tightrope of fire. Dora's beauty begins to fade and, unnoticed, she flees the castle.
In an interview with Variety, director Matteo Garrone emphasized that the three tales have contemporary themes: "plastic surgery; the frenzied desire to have a child; the conflict between generations; the painful passage from adolescence to adulthood."[7] He has also said that although the three stories have distinct themes, they are all connected to the idea of desire that can lead to obsession. Although screenplays were written for other tales in the Basile collection, those filmed told the story of "a woman in three different stages of her life": youth, motherhood and advancing age.[8]
According to Matteo Garrone, he was drawn to Giambattista Basile's stories for their mixture of the real and the unreal, and because he found the themes in many of them to still be highly relevant. Garrone had previously been best known for employing a naturalist style in films such as Gomorrah, but argued that all his previous films also have a fairytale aspect to their narratives.[2] An important source of inspiration was Francisco Goya's Los caprichos collection of etchings. For Garrone, they encapsulated the mood of Basile's tales.[9]
Tale of Tales had a budget corresponding to USD$14.5 million.[2] It was produced through Garrone's company Archimede Film, with co-production support from France's Le Pact and Britain's Recorded Picture Company. It received financing from Rai Cinema and additional support from MiBACT and Eurimages.[10]
On the review aggregator website Rotten Tomatoes, the film holds a 83% approval rating based on reviews from 10 critics, with an average rating of 7.1/10. The website's critical consensus reads, "Visually splendid and narratively satisfying, Tale of Tales packs an off-kilter wallop for mature viewers in search of something different."[18] On Metacritic, the film has received a weighted average score of 72 out of 100 based on 24 critics, indicating "generally favorable reviews".[19]
A virgin kitchen maid is summoned to cook the heart, and as she does so, she instantly becomes pregnant. When the Queen eats the heart, she too becomes pregnant. The two women deliver at the same time.
Both children are identical boys, albinos like the seamonster before and its suggested they have aquatic attributes as well, like prolonged underwater breathing. The two boys are best friends, but their social stations threaten to keep them apart. The Queen does not want the poor twin around. The Queen loves her son to the point of smothering him. Their introduction shows the Queen chasing her son through a maze, delirous with joy and happiness. Her son, meanwhile, looks like a frightened deer fleeing a hunstman, and with the help of his twin brother, he escapes the maze, leaving his mother sad and betrayed.
The Enchanted Doe change comes when the poor son goes into the world. He comes across a sorcerer ghoul, or magic ogre, who can transform into various beasts. The Ogre turns into a doe and leads the boy off a cliff. The Kingly brother then comes across the villain, but he is not tricked by the doe, and he manages to kill it and save his brother.
The Ogre sees the Princess escaping and he starts climbing across the rope. The tension in this scene got to me. I was literally on the edge of my seat, hands in the air, trying to cut the rope before the Ogre made it across! Very well done. They cut the rope and the ogre falls in the chasm.
The most happy celebration proceeds as the circus folk race in their carriage through the bottom of the chasm to safety. However, the back of the carriage rips apart and the Ogre proceeds to kill all the circus folk as they try to stop him, some grab weapons, some circus tricks. Finally, the youngest son uses his fire breathing trick on the monster, but the flames only maim the villain, and he kills everyone except the Princess who rushes into corner, trapped, where she gives up and sobs.
In the end it is suggested she becomes High Queen, replacing Salma Hayek as high ruler of the various Kingdoms. And to commemorate, a tightrope walker performs at her coronation. I will say more on this later, as I believe this final image of the film is the succinct visual representation of all that came before. The tightrope walker represents the lives of these people, who at any moment will be forced by their desires to topple to their deaths.
This story also upset me the most because of the horror film slaughter of the circus family who rescues the princess. And THIS is the main change to this story from the book. The rest of the story is almost identical to the book, minus the human emotion element. In the book, the people who rescue the princess each have a special talent, and as the Ogre pursues them, one causes a forest to spring forth to block him, but the obstacle is destroyed, so the next causes a river to spring up, etc. This happens seven times until the ogre is scaling a tower and the final son shoots him in the eye, killing the monster. The family is then rewarded for the rescue of the princess and they attend her wedding to a new prince.
The sisters then prepare for the sexual encounter. The younger one pastes the wrinkly folds of the elder one together until her form resembles that of a young woman. The old woman goes to the castle and crawls into bed where the Prince has his way with her. But he suspects something is off, and while she sleeps he brings a light to her face and discovers she is old. He is so outraged that he has her thrown from the castle window in the bedsheets.
Her fall is halted as the sheets catch in the trees and she is suspended, as if caught in a net. This causes a passing witch to chortle so heartily, that the witch saves her. And in a scene reminiscent of the Grapes of Wrath, the poor, broken old woman is suckled at the breast of the witch. It reminded me of the pathetic feeling of shame that reduces us, as humans, to an almost infant state. Where we are so low that we wish we had parents to come to our rescue. This succor causes the old woman to become young and beautiful. The wicked Prince then stumbles upon her in the woods and vows to marry her.
She now believes that her sister flayed herself to change to a young woman. Flaying is process whereby your skin is removed from your body while you are alive. The poor simpleton begs barbers around the city to flay her, but they refuse, on moral grounds. Until she uses the pearls from her wedding-reception gown to bribe an unscrupulous street barber. He takes her into the woods and flays her alive. 152ee80cbc
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