Six separate episodes: would-be suicides discuss their despair. A provincial dance hall. An investigative reporter posing as a husband-to-be. A young unwed mother. Girl-watching techniques of Italian men. A glimpse into prostitution.
Four directors tell tales of Eros fit for a 1970s Decameron. Working-class lovers, Renzo and Luciana, marry but must hide it from her employer; plus, they need a room of their own. A ... See full summary »
Three directors each adapt a Poe short story to the screen: "Toby Dammit" features a disheveled drugged and drunk English movie star who nods acceptance in the Italian press and his ... See full summary »
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 »
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.
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This is actually my very favorite movie of all time. And that is odd as I distinctly was disappointed with it when I first saw it. But it has grown on me over the years. Don't see this movie thinking you'll have lightweight porn from the Ancien Regime era. This is anti porn; Casanova's amours fill Fellini with disgust and contempt as do his intellectual pretensions. I've read that the entire movie is a condemnation of the Enlightenment which Fellini depicts as a fiasco. Casanova's tireless travels also serve Fellini well as a stage for his Italocentric racism. Every race in Europe is heavily lampooned; Hungarians,the Spanish, the French, the English, and most contemptible of all, the Germans. Distinctions are even drawn clearly between the racial and cultural differences between Venetians and Romans and Savoyards...
This is Fellini's last great movie. After this he seemed to get so disgusted with the modern world that he withdrew intellectually; you see this a lot in older men. They turn away then they get out of touch. After Casanova you get City of Women and Fred and Ginger. They're all terrible, very sad to see the decrepitude of a great talent. But in Casanova we can see the great man at the very pinnacle of his powers. And even the the utmost squalour there are great beauties here to admire, for Fellini loves the visual world and expresses it in film with the most original cinematography and the most wonderful stage sets. If you can find it on DVD letterbox format don't miss buying it.
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