(1965), the equation is reversed; anyone going into this three-hour mind-fuck straight may well come out feeling stoned.
Potocki’s resume would take almost as long to read as the film takes to watch.
Sources say he was a noted travel writer, “novice king of Malta” (whatever that is), Egyptologist, occultist, historian, balloonist, linguist, melancholic, and eventual suicide at age 54.
for its rich folkloric elements, supernatural motifs, bawdy humor, and surreal touches.
It also contains heavy doses of Jewish mysticism and scientific theory of the day (including discussions of mathematics and philosophy).
On the verge of succumbing to their charms, he suddenly awakens next to a gallows on which two corpses are hung.
This kind of collision of the horrific with the sensual permeates the film.This scene only occupies the first ten or fifteen minutes of the film, but it sets the tone for what follows.From there, the story escalates into a series of increasingly complex enchantments.Like its predecessors it has a very modern, labyrinthine, story-within-a-story structure, but it’s even more multilayered, so much so that a slide rule and a scratch pad are advisable for keeping track of who’s who and what’s what.If the movie is any indication, there are as many as five levels of drilldown in some sequences, with one person telling a story about another person, who then tells another story about someone else, who then – you get the idea.The film version is reputedly a respectful, mostly faithful adaptation of this literary cat’s cradle.