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Fellini's Casanova (1976)
"Il Casanova di Federico Fellini" (original title)

R  |   |  Biography, Drama, History  |  11 February 1977 (USA)
7.1
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Ratings: 7.1/10 from 4,427 users  
Reviews: 29 user | 34 critic

Casanova is a libertine, collecting seductions and sexual feats. But he is really interested in someone, and is he really an interesting person ? Is he really alive ?

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(autobiography "Storia della mia vita"), (screenplay), 1 more credit »
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Title: Fellini's Casanova (1976)

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Won 1 Oscar. Another 6 wins & 3 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Tina Aumont ...
Henriette
Cicely Browne ...
Madame D'Urfé
Carmen Scarpitta ...
Madame Charpillon
Clara Algranti ...
Marcolina
Daniela Gatti ...
Giselda
Margareth Clémenti ...
Sister Maddalena (as Margareth Clementi)
Mario Cencelli ...
Moebius
Olimpia Carlisi ...
Isabella
Silvana Fusacchia ...
Isabella's sister
Leda Lojodice ...
Rosalba the Mechanical doll (as Adele Angela Lojodice)
Sandra Elaine Allen ...
Angelina the Giantess
Clarissa Mary Roll ...
Anna Maria
Alessandra Belloni ...
Princess
Dudley Sutton ...
Duke of Wuertemberg
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Storyline

Casanova is a libertine, collecting seductions and sexual feats. But he is really interested in someone, and is he really an interesting person ? Is he really alive ? Written by Yepok

Plot Summary | Add Synopsis

Taglines:

And Now...after four years of preparation and production...


Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Release Date:

11 February 1977 (USA)  »

Also Known As:

Fellini's Casanova  »

Company Credits

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Technical Specs

Runtime:

| (original)

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Fellini had to re-shoot parts of this movie, including the elaborate Venice carnival scene, when several reels of film were stolen at the Technicolor labs of Tiburtino, Rome, in August 17, 1975. The thieves were apparently interested at Pier Paolo Pasolini's Salò, or the 120 Days of Sodom (1975), and some reels of this film were also stolen, along with half of Damiano Damiani's spaghetti western 'Un genio, due compari, un pollo (1975)_. Apart from the re-shoots, this theft also forced Fellini to abandon a sequence featuring 'Barbara Steele'. The negatives were never found. See more »

Quotes

Giacomo Casanova: A man who never speaks ill of women does not love them. For to understand them and to love them one must suffer at their hands. Then and only then can you find happiness at the lips of your beloved.
See more »

Connections

Featured in Seriously Funny: An Argument for Comedy (1996) See more »

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User Reviews

 
Without a doubt Fellini's best, and, ironically, most depressing film.
21 November 1999 | by (USA) – See all my reviews

I totally disagree with the critical trend of discrediting Fellini's later films as symptomatic of his decline. Instead, I believe that Fellini's last films were actually his best. And Casanova, by far Fellin's worst reviewed film, is Fellin's masterpiece-- a sad, funny, wistful, grotesque, Rabelisian epic of a film.

In a way, Casanova is a foil to Fellini's earlier classic La Dolce Vita-- the main difference being that the former is more pessimistic in tone, while the latter is enfused with a youthful optimism. In a way, that's how the films of Fellini have progressed; his earlier films were filled with an almost child-like love for life (albeit with some very dark edges), while his later films became increasingly darker and more depressing. Strangely enough, Fellini's later films were also his best, both on a technical level, and in terms of thematic depth.

Casanova is not only the story of a man, it is also about a whole era-- an era of grand opulence and grand waste. Like in many of Fellini's other films, the protagonist of Casanova serves as a guide for us through a phantasmagoric carnival-like world. Casanova is depicted as a sexually-ravenuous, and deeply cynical man. He is constantly searching for some kind of image of the perfect woman-- an ideal which eventually leads to his own destruction.

Casanova is not a film for everyone-- despite having the usual Fellinisque scenes of ribaldry, Casanova is for the most part slowly paced (it reminds me of Kubrick's Barry Lyndon). Ultimately, Casanova, like Fellini's And the Ship Sails On, is about the passing of a golden age into oblivion. One leaves Casanova feeling both depressed, and yet somehow hopeful. Why?

Perhaps because like all great artists, Fellini realizes that in our darkest hours, we still can hold on to our memories of happier times.


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