Beyond Good and Evil (1977)
"Al di là del bene e del male" (original title)

Director:

Liliana Cavani

Writers:

Liliana Cavani (story), Liliana Cavani (screenplay),

Stars:

Dominique Sanda, Erland Josephson, Robert Powell

1 win.

Cast

Cast overview, first billed only:
Dominique Sanda	...	Lou Andreas-Salomé
Erland Josephson	...	Friedrich Nietzsche
Robert Powell	...	Paul Rée
Virna Lisi	...	Elisabeth Nietzsche
Michael Degen	...	Karl Andreas
Elisa Cegani	...	Franziska Nietzsche
Umberto Orsini	...	Bernard Foester
Philippe Leroy	...	Peter Gast
Carmen Scarpitta	...	Malvida
Nicoletta Machiavelli	...	Amanda
Amedeo Amodio	...	Dottor Dulcamara, il diavolo
Renato Scarpa	...	Psichiatra
Clara Colosimo	...	Trude, the maid
Roberto Bruni	...	Professor Julius Longbehn
Mircha Carven	...	Wolfgang

Storyline

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Plot Keywords:

female nudity | female stockinged feet | stockings | nietzsche | homosexual | 

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Genres:

Biography | Drama

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Details

Country:

Italy France West Germany

Language:

Italian

Release Date:

5 October 1977 (France)

Also Known As:

Beyond Good and Evil

Filming Locations:

Germany

Company Credits

Production Co:

Clesi Cinematografica, Lotar Film Productions, Les Productions Artistes Associés

Technical Specs

Runtime:

127 min 116 min (English)

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Did You Know?

Connections

Referenced in Going to Pieces: The Rise and Fall of the Slasher Film (2006)

User Reviews

visual philosophy and more

This is Cavani's most influential film. No one interested in Nietzsche or Salomé can leave this film without notice! The interpretation of some of Nietzsche's main ideas are well articulated and visually made comprehensible so that they both win in depth and become even more enticing. Cavani uses Mozart's music in a way that makes your spine tinkle. Spiritism, Mozart and a life just petered out make together a scene that is overwhelming in meanings. Most of the philosophical points are given in visual argumentation; that makes the film a real treasure box for anyone interested in visual thinking and its art. In this film Cavani has also developed a cinematic language she nowhere else applies. She uses pictorial mementos known to most of us and plays a semiotic game that makes quite common scenes to grow ambiguous, even breathtaking. The film is really not to be recommended to anyone, since without basic knowledge in Nietzsche and Belle Epoque one can't enjoy the story. But for those who are even cursorily familiar with the scene the film will be a revelation.