True, the various strands are never bound together, but with material this sumptuous it really doesn't matter.
Fellini Satyricon (1969)
Tomatometer
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Reviews Counted:22
Fresh:17
Rotten:5
Average Rating:7/10
Runtime: 2 hrs 11 mins
Genre: Foreign Films
US Box Office: $0
Synopsis: In SATYRICON, Italian New Wave director Federico Fellini depicts the hedonistic, amoral, pre-Christian world of ancient Rome. Using the unfinished classical writings of Petronius as his guide,... In SATYRICON, Italian New Wave director Federico Fellini depicts the hedonistic, amoral, pre-Christian world of ancient Rome. Using the unfinished classical writings of Petronius as his guide, Fellini invents a dreamlike culture full of strange, distant characters and odd, grotesque events. Though the film lacks a definitive plot or narrative structure, its constants are Gitone (Max Born) and Encolpius (Martin Potter), whose unsavory encounters with sex, the theater, and religion are the film's focal point. Presenting a loosely structured episodic tale of decadence and depravity in ancient Rome, SATYRICON follows the adventures of two students as they negotiate their way through a variety of mishaps, dangers, and sexual encounters. What results is a bizarre journey through ancient Rome. This story is a perfect example of Fellini's accomplished skill in bringing fantasy to the screen. [More]
Starring: Martin Potter, Max Born, Hiram Keller, Capucine
Starring: Martin Potter, Max Born, Hiram Keller, Capucine, Gordon Mitchell, Salvo Randone, Magali Noel, Alain Cuny, Il Moro, Fanfulla, Joseph Wheeler, Luigi Montefiori, Lucia Bose
Director: Federico Fellini
Director: Federico Fellini
Screenwriter: Federico Fellini, Bernardino Zapponi
Composer: Nino Rota
Reviews for Fellini Satyricon
Federico Fellini presents an incredible fresco-like vision of Rome's social structure 2,000 years ago in which survival and pleasure were man's sole motivating forces.
A shallow, hypocritical film, without a glimmer of genuine creativity.
The odd thing is that the excess seems visual and mythical rather than really sexual.
Fellini's characteristic delirium is in fact anchored in a precise, psychological schema: under the matrix of bisexuality, he explores the complexes of castration, impotence, paranoia and libidinal release.
Those who don't weaken and bolt for the door experience a one-of-a-kind visual adventure they are unlikely to forget.
Fellini received a well deserved Oscar nomination for this bizarre, wildly flamboyant but plotless spectacle, inspired by the firt century author Petronius, flaunting glorious production values.
It is a surreal epic that, I confidently believe, will outlive all its interpretations.
It is so much more ambitious and audacious than most of what we see today that simply as a reckless gesture, it shames these timid times. Films like this are a reminder of how machine-made and limited recent product has become.
Felliini's ancient Roman tale with a modern message is as cynical and bleak as its images are startling and original.
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