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Shot throughout the production of Fellini Satyricon and produced by Gideon Bachmann in 1970, this documentary features tons of behind the scenes footage, much of it set to period music. Despite its nontraditional approach to commentary tracks, it makes for an incredibly informative listen.
#Federico fellini criterion full#
Stocked full of first person accounts of happenings on set, searing declarations about Fellini’s filmmaking process, comments on casting, film funding and even various differences between Petroniuis’ original novel and the cinematic interpretation as it was unfolding. Though an odd turn for a commentary track, this is a reading of Eileen Lanouette Hughes’ 1971 memoir, On the Set of “Fellini Satyricon”: A Behind-the-Scenes Diary. We couldn’t ask for a more robust, lovingly composed release. And to top it all off, there is more extras included than should ever be expected for a single picture.
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Matching the visual quality, Criterion has put forth a faithful, crisp and clean Italian mono track.
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Shot in Technicolor by Fellini’s soon to be regular DP, Giuseppe Rotunno, Satyricon pops with wildly theatrical, often surreal coloration, and Criterion’s transfer presents their achievement flawlessly.
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Disc Review:įellini’s vision of the debauchery of Ancient Rome is incredibly rendered in boldly vivid, filmic HD. If you can embrace the callous calamity that remains amidst the visual wonders and cinematic oddities Fellini threw at the screen, there is a raucous and bracing version of unknowable history to be had. Instead, it fills the void left behind with the hatefulness of men, their tendencies for violence, their bottomless greed, their fervent lust, blending it all together without regard for continuity or comprehension in a whirlwind of color and flesh. That’s to say that Fellini Satyricon holds its audience at arms length, emptying any empathy one might expect from the incredibly personal filmmaker we’d come to know as Fellini. Despite its biting historical critique, the film exudes a psychedelic air that in some ways makes it more a highbrow ancestor to Alejandro Jodorowsky’s midnight stoner favorite The Holy Mountain than a work in the lineage of La Strada or 8½. Satyricon, in its depiction of young androgynous men wandering through bleakly envisioned Roman banquets, brothels and bloodshed, wreaks of the late 60s.
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It’s imperative to remember that Fellini’s film first saw the dark of cinemas back in 1969 at the height of the hippy movement and just a year after Les Blank’s free spirited docu-portrait of the cultural revolution in God Respects Us When We Work, But Loves Us When We Dance, which in its free form celebration of hippy culture rides on a similarly exuberantly sexual wavelength, albeit one that holds up hope for the future, rather than declaiming the past wholly unknowable.
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Amidst massive film sets and props that purposefully peeked behind the veil of realism to reveal the artifice of cinema inherent in extravagant make-up, costuming and exaggerated performance, Fellini laid out a narrative purposefully incoherent, letting the narrative play out like a series of dream sequences that harken back to times long past, yet feel more the moody stuff of science fiction than the bawdy sword and sandal dramas that came before. From there, it differs wildly in tone and narrative, depicting a seemingly endless parade of horrors and grotesqueries theatrically constructed within the famed Cinecittà Studios in a Rome far removed from the cinematic incarnation it finally bore witness to. The result is a film that, in its unleashed inhibitions, leaves us as an audience in awe of its cinematic freedom, yet at odds with the tale as an empathetic journey through time.įellini’s film takes the basic storyline from the novel, setting Encolpius and his companion Ascyltus through the early Roman landscape still under the rule of Nero, the fifth Roman Emperor. Fellini Satyricon, Federico Fellini’s extremely loose adaptation of Petronius’s novel, takes this already loose narrative form and applies the structure as a lens for interpreting the history of antiquity itself – vividly alien, wholly broken and humanly detached from our own worldly norms. Considered amongst the few surviving ancient novels as one of the best depictions of the wild debauchery that seized early Roman society, Petronius’s episodically fractured text The Satyricon tells the tale of Encolpius and his friend and occasional lover Ascyltus, a pair of former gladiators, as they venture through a society rife with overindulgence, sexual proclivity and flippant violence, rotating in form and tone from serious to silly, poetic narrative prose to lyrical verse throughout.