The inspiration for my latest film comes from Rubens’ painting Prometheus Bound.
The depiction of Prometheus in this work shows the classic larger-than-life Rubenesque hero at the mercy of the eagle sent by Zeus to eat his liver out. While Rubens plays with perspective in this painting, it is worth pointing out the contrast between our swollen and struggling hero and the thin and loose chains that seem to bind him there (also placed in the lower right-hand corner of the painting, clearing showing their lack of prominence in the scene). The contrast between the struggle and the fetters is absurd and surely notes that this piece is more about sadistic torture than divine punishment. It also implicates Prometheus as a centerpiece to this torture: Is he truly bound? Or is it his choice to endure this fate? Surely, the stealing of the Fire was what brought him to this place, but he does not seem to want to escape.
My film, Prometheus Bound, will consider this interpretation of the painting and consider the themes: Temptation, Gluttony, Greed, Sadism, and Death.
Prometheus (Pitt) falls becomes obsessed with Persephone, the wife of Aidoneus, the Duke of Sicyon and the hapless township that he finds himself in.
Sicyon is a place outside of time: We will take art and fashion from the modern goth culture and couple it with nods to the Flemish styles of the late 1500s and early 1600s, maintaining a similar feel as The Cook, The Thief, His Wife, and Her Lover.
The narrative structure will be like a series of artistic tableaux:
Prometheus lives in an apartment overlooking a decadent restaurant. One night, while on his way home, he sees Persephone for the first time through the window. He stares at her through the glass, her dainty beauty contrasted by the swollen gluttony of her husband. When they exit the restaurant, Prometheus witnesses Aidoneus throw Persephone onto the ground and kick her face. He watches as he beats her, but does not intervene.
When he turns away, he finds a prostitute and brings her up to his room where he slaps her and asks her to bind him. She binds him fast to the bed, torturing him with a bullwhip. Meanwhile he fantasizes about Persephone with bruises and blood on her face.
The next morning, Persephone is at his door, weeping. He pulls her inside and she implores him to take her away from Aidoneus. She dominates Prometheus, pinning him to the bed while simultaneously imploring him.
Thus begins their flee from Sicyon. But their departure is not easy. As they turn to flee further and further away, their journey becomes an allegory for the seven rings of Hell:
Their first stop is the fields surrounding Sicyon. Here they find students and prophets wandering like madmen. They meet Dante, who warns them to turn back.
The second stop is a brothel, where they intend to stay the night. Here we see various sexual acts of perversion that Prometheus and Persephone give in to.
In the morning, they continue on their path and find an open market. All foods, goods, jewels imaginable line the tables while all of the vendors are wearing animal masks (inspired by Hieronymus Bosch’ creatures). While the food is plentiful, most of it appears rotten and spoiled, yet the patrons of the market continue to shove it into the mouth holes of their masks, leaving oozing rotting meat and juices slipping down their faux visages.
Prometheus and Persephone each buy masks and stay at an inn, surrounding themselves with the food and goods. They dress opulently and make love with their masks on, their bodies covered with rotting fruit and meat.
The following night, Aidoneus catches up with them. He drags the naked Prometheus to the river and binds him to a stone while his men mercilessly torture him by force-feeding him Persephone’s jewelry and slashing his abdomen and removing his liver.
When Aidoneus returns to the inn for Persephone, he finds all of its inhabitants (all women) wearing the same mask that she had worn the day before. He demands that they take off their masks, but they all refuse and eventually descend upon him, beating him mercilessly. Persephone then emerges, no mask and kicks his face repeatedly. Camera pans up to her face as she screams. And fades out.
Casting
Prometheus: Brad Pitt
Persephone: Helena Bonham Carter
Aidoneus: Sid Haig
Why Brad Pitt will be on board with this movie:
It’s clear with the aforementioned movies that Pitt is attracted to pseudo-intellectual and often grotesque films. He clearly likes to challenge himself as an actor and participate in films that challenge his audience. He is not afraid of ultra-violence or controversial imagery. He also seems to enjoy working with artistic and experimental directors (Gilliam, Fincher, Ritchie), and I, Peter Greenaway, would fit into that mix, but push him that much more.