Fellini's Casanova (1976)
Giacomo Casanova (Donald Sutherland) was a bit of a lad. He loved the ladies. His life was a collection of sexual escapades that whilst initially fulfilling left him feeling empty and bereft as an individual. Acclaimed director Federico Fellini's film follows Casanova through his various adventures in 18th century Europe.
We first meet the charlatan as he entertains an unseen voyeur by defiling a fake nun. Once the act has reached its climax Casanova does his utmost to impress the rich, and still unseen, voyeur by recounting his interest in alchemical research. He soon realises that he is talking to himself, literally, and leaves.
Upon arriving back on the mainland he is arrested and imprisoned for his catalogue of debauchery. He soon escapes and travels around Europe. From an aged woman looking to have her soul transformed into that of a man, through sex to Casanova, to cuddling up with a mechanical woman Fellini's Casanova is episodic and surreal.
This is cinema as art rather than entertainment but that's not to say that Casanova fails to entertain within its artistic confines. Touching upon religion, death, spiritualism, and intellectualism and, of course, sexuality Fellini drew upon the aspects of Italian society that both appalled and intrigued him with little regard to historical accuracy. Director Federico Fellini's Casanova is an exquisite feast for the senses that threatens to become more style than substance if it wasn't for the hugely charismatic performance of Donald Sutherland.
Adapted from the autobiography of Giacomo Casanova, the 18th Century adventurer and writer Fellini's masterpiece is by turns dazzling, funny and bewitching. What is even more astonishing is learning that the entire film was shot on stage – the Cinecittà studios in Rome – a monumental achievement in set and production design. Little touches such as the turbulent sea Casanova rows upon made up of black plastic sheets add to what Fellini felt was the plasticity of Casanova's life.
Original producer Dino De Laurentiis had Robert Redford in mind for the lead, but then more often than not, De Lauentiis was very rarely right in his choices (one only has to look at his career CV as a producer to see what we mean). Paul Newman, Al Pacino and Marlon Brando were also considered. Fellini refused the notion of Redford as his film's lead and, after breaking from De Laurentiis as producer Fellini, cast Donald Sutherland instead, having the actor shave the front part of his hair and don a prosthetic nose and chin.
Dreamlike and consistently enthralling Fellini's flick encompasses an individual that the noted director disliked intensely however in shooting his script he found some empathy for his lead character. He amended his initially brutal treatment of Casanova in his script focusing instead on the man's inability to love despite falling in love too easily - the inclusion of the mechanical doll and dream ending were his compensation for this.
Magical and absorbing from start to finish Fellini considered this film to be his masterpiece. He was heartbroken when the film failed to be received critically in the States. This is inconceivable! Each and every frame of the film is abundant in detail and colour, truly ravishing to behold. It's not difficult to see why Danilo Donati was awarded an Academy Awrd for Best Costume Design. Fellini regular Nina Rota composed the score that initially grates a little but becomes more haunting and enchanting as the story unfolds. An embarrassment of riches Fellini's Casanova demands your attention and deserves repeated viewings. In case you've missed it, we really liked it.
Check out more of my reviews at www.mybloodyreviews.com
Giacomo Casanova (Donald Sutherland) was a bit of a lad. He loved the ladies. His life was a collection of sexual escapades that whilst initially fulfilling left him feeling empty and bereft as an individual. Acclaimed director Federico Fellini's film follows Casanova through his various adventures in 18th century Europe.
We first meet the charlatan as he entertains an unseen voyeur by defiling a fake nun. Once the act has reached its climax Casanova does his utmost to impress the rich, and still unseen, voyeur by recounting his interest in alchemical research. He soon realises that he is talking to himself, literally, and leaves.
Upon arriving back on the mainland he is arrested and imprisoned for his catalogue of debauchery. He soon escapes and travels around Europe. From an aged woman looking to have her soul transformed into that of a man, through sex to Casanova, to cuddling up with a mechanical woman Fellini's Casanova is episodic and surreal.
This is cinema as art rather than entertainment but that's not to say that Casanova fails to entertain within its artistic confines. Touching upon religion, death, spiritualism, and intellectualism and, of course, sexuality Fellini drew upon the aspects of Italian society that both appalled and intrigued him with little regard to historical accuracy. Director Federico Fellini's Casanova is an exquisite feast for the senses that threatens to become more style than substance if it wasn't for the hugely charismatic performance of Donald Sutherland.
Adapted from the autobiography of Giacomo Casanova, the 18th Century adventurer and writer Fellini's masterpiece is by turns dazzling, funny and bewitching. What is even more astonishing is learning that the entire film was shot on stage – the Cinecittà studios in Rome – a monumental achievement in set and production design. Little touches such as the turbulent sea Casanova rows upon made up of black plastic sheets add to what Fellini felt was the plasticity of Casanova's life.
Original producer Dino De Laurentiis had Robert Redford in mind for the lead, but then more often than not, De Lauentiis was very rarely right in his choices (one only has to look at his career CV as a producer to see what we mean). Paul Newman, Al Pacino and Marlon Brando were also considered. Fellini refused the notion of Redford as his film's lead and, after breaking from De Laurentiis as producer Fellini, cast Donald Sutherland instead, having the actor shave the front part of his hair and don a prosthetic nose and chin.
Dreamlike and consistently enthralling Fellini's flick encompasses an individual that the noted director disliked intensely however in shooting his script he found some empathy for his lead character. He amended his initially brutal treatment of Casanova in his script focusing instead on the man's inability to love despite falling in love too easily - the inclusion of the mechanical doll and dream ending were his compensation for this.
Magical and absorbing from start to finish Fellini considered this film to be his masterpiece. He was heartbroken when the film failed to be received critically in the States. This is inconceivable! Each and every frame of the film is abundant in detail and colour, truly ravishing to behold. It's not difficult to see why Danilo Donati was awarded an Academy Awrd for Best Costume Design. Fellini regular Nina Rota composed the score that initially grates a little but becomes more haunting and enchanting as the story unfolds. An embarrassment of riches Fellini's Casanova demands your attention and deserves repeated viewings. In case you've missed it, we really liked it.
Check out more of my reviews at www.mybloodyreviews.com