Pasolini added a modern-day prologue and epilogue to his own translation of Sophocles' text. In the prologue, Oedipus is born to the wife of a military officer who immediately exhibits jealousy over the child. The major part of the film is a dream-like evocation of the Oedipus myth, filmed on Moroccan landscapes and set to music as disparate as Rumanian folk tunes and Japanese pieces. Yet as always, Pasolini's choice of native faces, and the rough-hewn costumes and masks have an almost hyper-realism to them. Franco Citti (Accattone, Mamma Roma) and Silvana Mangano are featured as Oedipus and Giocasta. Pasolini has stated, "I had two objectives: first, to make a kind of completely metaphoric--and therefore mythicized--autobiography; and second to confront both the problem of psychoanalysis and the problem of myth. But instead of projecting the myth onto psychoanalysis, I have re-projected psychoanalysis on the myth.... I have put things in which weren't in Sophocles, but which I don't think are outside psychoanalysis." In his approach to the concept of fatality in the original myth, Pasolini emphasizes the innocence of his essentially plebeian Oedipus, who suffers from a universal--and fatal--will to ignorance. "(The) thing in Sophocles that inspired me the most (was) the contrast between total innocence and the obligation to know," Pasolini states (in Oswald Stack's Pasolini on Pasolini).