These stories become less clearly patterned and layered around here: we see a woman (Abadit Ghidei) dreaming of a bird caught in a net, and have no idea who she is, then find her painting something–which is also, currently, meaningless to us. Between this, though, is the story of Aziz (Ninetto Davoli, Andreuccio in Il decameron and “the great love of life”) and Aziza (Tessa Bouché), cousins set to be married when Aziz is distracted by Budur (Luigina Rocchi). Zumurrud’s stories to Nur-e-Din are rather short and simple: a kingly husband and wife make a bet on the attractiveness of a man and woman they select, and then a man finds three attractive young men to bring back with him and take part in whatever pleasure takes their fancy. The multiple layers of storytelling are a deviation from the methods of that prior film, too. There is no centralized sense of storyteller or “origin” to it all, and the first story is recurring and persistent throughout the film. This is rather unlike its (not immediate, sigh) predecessor, Il decameron. Zumurrud tells Nur-e-Din stories from a book, while Nur-e-Din, in his searches, is told yet more stories by others–including some whose characters start telling stories themselves. Not heeding her words, she’s abducted by one of the men she insulted, and Nur-e-Din is left to find her again as she finds another place to escape. She’s drawn to Nur-e-Din (Franco Merli), a young man with no money who quickly falls in love with her.
Oh well, I guess for thematic trilogies it’s not as big a deal (hopefully?).Ī slave masseuse, Zumurrud (Ines Pellegrini) is sent out to be purchased by someone at a market–only for her sarcastic insults to earn laughter (and wrath) from the market, but also the revelation that her master has sent her to choose her own new master. How did I do this twice?! This time it’s completely on me–with the Stillman box, they actually are numbered/ordered in the “wrong order” (chronologically speaking) in that box–this one, I guess I just wasn’t paying enough attention.
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