|
|
|
|
|
|
Fellini - Satyricon 
Actors : Martin Potter, Hiram Keller, Max Born, Salvo Randone, Mario Romagnoli
Director : Federico Fellini
Studio : MGM (Video & DVD)
by MGM (Video & DVD)
Release Date : 2001-04-10
Publisher : MGM (Video & DVD)
Availability : Usually ships in 1-2 business days
Number of Items : 1
EAN : 9780792849384
UPC : 027616860408
Avg. Customer Rating: (based on 66 reviews)
List Price : $14.98
Our Price : $5.07
|
|
| |
|
Americancivilwar.com essential video |
|
Trippy is as trippy does, even when you're talking about a movie set in ancient Rome. This 1969 Fellini opus was among the most visually arresting entries in a year when the psychedelic experience was trying to claw its way into every movie coming down the pike. But Fellini, in telling a negligible story about two young men tasting the various pleasures of Nero's hedonistic and priapic reign, aimed for images that jarred as well as seduced. He found humor in freakishness, contrasting beauty and ugliness while effortlessly passing judgment on the emptiness of a life devoted to sensation and personal freedom. More of a fever dream than a linear story, Fellini Satyricon crystallized the director's reputation as a visionary--but may have trapped him into spending the rest of his career (with the exception of Amarcord) trying to top himself in reaching new levels of outrageousness. --Marshall Fine |
| |
|
Description |
|
Encolpius is a Roman student who begins by arguing with his friend Ascyltus over the affections of androgynous youth Giton. Ascyltus wins, whereupon Encolpius embarks upon an odyssey, partaking in a drunken orgy and being kidnapped by a bisexual sea captain and his concubine. Encolpius eventually rejoins Ascyltus to visit a suicidal Roman couple, join in a plot to kidnap a "sacred" hermaphrodite, and much more. Loosely based on the book "Satyricon" by Gaius Petronius, the "Arbiter of Elegance" in the court of Nero, Federico Fellini wrote and directed this tongue-in-cheek hymn to the "glories" of pagan times via a bizarre journey through the decadence and debauchery of Nero's Rome. |
| |
|
| |
|
Oh so good! |
|
It's amazing to think that the original story behind this movie was created at about the same time as the beginnings of Christianity. I watch this video once each year on Christmas Eve or on Christmas Day. It's a great antidote to the insanity of the Christmas season as "celebrated" in the U.S. of A. Highly recommended! |
| |
|
Humanity & Fantasy |
SATYRICON may well be the crown jewel of the late 1950-1960's European/Asian Art Film genre--by one of the master directors of the time.
As mentioned in the press blurb, the film play is loosely (very loosely) based on The Satyricon by Petronious, and the storyline follows the sexual exploits of Encolpio who searches for his fickle lover, played out within the framework of a hyper-sexualized & surrealistic vision of Pagan Rome (and other locales that could be anywhere between the Italian countryside to Jupiter.)
This is Fellini's most opulent & lavish production (eclipsed only by his other masterpiece CASANOVA--a film critics found just a little too lavish & opulent, and a movie that seems to have disappeared off the face of the earth.)
SATYRICON (more or less translates as "Sex Play") is a sumptuous feast for the eyes & ears, emphasized by an non-intrusive & often very funny script. For example, in one scene a man entertains dinner guests with this story: Once upon a time a beautiful young widow had to bury her husband. Following the tradition of the time, she vowed to pine away next to the body she followed to the cemetery. Just over the hill a handsome young soldier was charged with the task of guarding the body of a hanged thief. The soldier hears the widow's crying & goes to investigate. With very little cajoling the widow & soldier make love next to the corpse. Meanwhile, the relatives of the hanged man steal his body. When the soldier finds out, he threatens to kill himself because he knows that he'll be held responsible. But the widow dissuades him, suggesting he replace the stolen body with that of the husband. She says, "Better to hang a dead husband then lose a living lover."
The storyteller's audience laughs--and the theatre audience laughed along with them. This exemplifies the intent of the director in this film--to show the continuity of human nature, with all its aspirations & foibles.
Another scene I liked involved a rich man who employed a fulltime soothsayer to interpret the meaning of his belches.
And this one: The intrepid hero becomes impotent, but unluckily for him, he is selected to play the role of Lover in a city fertility rite. The rather ample High Priestess displays herself on the altar & entices him to lay on top of her. Unfortunately that's all he does. In a huff she tosses him off the altar, picks up her clothes & goes stomping off yelling "You shriveled up little worm, you'll bring bad luck on all of us!"
There are poignant scenes between the humor.
In one such scene a Patrician (land owner) and his wife learn that Caesar (no particular Caesar is really identified) has been assassinated. As they were allies of his, they know that they are marked for death. They send their children away to safety (Fellini's daughter plays one of them.) Then in a highly stylized, emotive, graceful scene, they commit suicide. No melodrama here, but dignity.
The sexual and other visual images of the film are very Dali--and if you love Dali, you'll love the movie. If you're uncomfortable about sex, you won't like this picture. Every form of sex & fetish runs throughout SATYRICON. Nudity is rampant! However, here too Fellini shows his humanity. No matter how bizarre the situation (or position) not one character is portrayed as degrading or demeaning. SATYRICON is a Celebration of Life, a fusion art form the almost quietly invokes an age old expression of joy.
It is as if we were being ever so gently reminded that our life is all we have, and unfortunately, it just can't last forever.
As a matter of fact, it has a tendency to end all too soon.
This was certainly the Pagan outlook.
La Strada - Criterion Collection
La Strada - Criterion Collection
Fellini's Roma
Juliet Of The Spirits - Criterion Collection |
| |
|
Exploring reality through drug-induced fantasy |
As much as I enjoy Roman epics like Kubrick's Spartacus - Criterion Collection, it is undeniable that these tend to either whitewash the more bizarre aspects of Roman life or turn said aspects into a freak show (Caligula (Three-Disc Imperial Edition), Gladiator (Widescreen Edition)). What sets Fellini's film apart is that he does not try to make any connections to our present (except that he and his version of the Romans apparently shared a penchant for hallucinogenic drugs). His vision of the Roman world is confusing like some sort of endless carnival, alien to us in a way a Far-Eastern culture might be. In many ways it seems a bit overdone, until you realize that e.g. Roman food was indeed quite strange (read Apicius). And yes, the Roman women put lead makeup on their faces. I bet that was healthy!
But the real star of the film is the production design and the cinematography by Giuseppe Rotunno. Not to mention the delicious overacting and the deliberately out-of-sync dialogue (there is a book about the making of the film in which Fellini explains his vision). Many movies have stolen a few ideas here, for example Lychias's ship somehow seems to have influenced Waterworld and other post-apocalyptic movies. I guess it is no coincidence that Fellini called this his "science-fiction film of the past". Also, Pasolini's "Trilogy of Life" with its episodic structure and carefree sexuality is deeply indebted to this film.
The work on which the movie is based, the The Satyricon (Oxford World's Classics) by Petronius Arbiter, might perhaps be called the birth of the anti-hero novel, where three misfits -- students who dabble a bit in murder, theft, and prostitution on the side -- stumble from one ribald adventure into the next and where the reader can never decide if he should laugh with the "heroes" or at them. So, does Petronius intend to satirize the "haves" (like Trimalchio) or the "have-nots" (like Eumolpius) -- or simply everybody? And what does Fellini want to say with this film? Maybe just to sit back and enjoy the visual feast he offers. |
| |
|
Fellini OutFellini's Fellini |
Fellini was not a man of half-measures. He was his own greatest challenger. With great challenges comes the risk for great failure. Satyricon is a disjointed mess, albeit a very pretty disjointed mess. Most of Fellini's movies don't have much in the way of plots so that doesn't bother me. What makes Satyricon unsuccessful is the lack of insight and challenging questions that make most of Fellini's other works so fascinating and challenging for the viewer. Here, it seems as if Fellini makes his point early then spends the rest of the movie beating around the bush. He tries so hard to offend it eventually seems silly and contrived and, ultimately, boring.
|
| |
|
Empty, loud, and shallow illustration to an ancient book |
"Satyricon" studies ancient Rome of the first century, and is virtually plot less; images drive the movie, not the story and characters, and the movie is essentially a montage of unrelated scenes. Cinematography and art direction are wonderful and the film is truly the feast for eyes. Its beauty comes from El Fayum portraits, wall paintings (frescos) and mosaics from Rome and Pompeii. The problem with Satyricon is that IMO Fellini himself did not like it very much. He seems to be a remote observer in that gorgeous but empty, soulless, decadence world of Nero's Rome. The shocking and appalling scenes of violence and sex leave me indifferent after a while. Two main characters that connect unrelated events are so insignificant, dull, and futile that they only take a screen time from the magnificent images which are the main attractions of "Satyricon". Even those images cannot safe Satyricon from being just a glorious illustration to an ancient book.
"Satyricon" feels empty, loud, and shallow. I rather read Petronius's book or watch the immortal, impressive, and full of character El Fayum portraits.
I prefer more "Fellini's Roma" - as beautiful as "Satyricon", it is much more enjoyable, has a subtle message and a lot of heart. The magnificent Eternal City is deservingly the main character of the very personal film for its creator, Maestro Fellini.
|
| |
|
|
|
