| 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 | |
| Piero Morgia | ... | Giovinastro osteria | |
| Elvira Cortese | ... | Altra domestica | |
| Guido Cerniglia | ... | Ospite salotto Malvida | |
| Elisabeth Wiener | ... | Gerta | |
| Clara Algranti | ... | Teresa | |
| Francesca Muzio | |||
| Anita Höfer | |||
| Vinicio Dimanti | (as Vinicio Diamanti) | ||
| Robert José Pomper | ... | Dancer | |
| Heinz Kreuger | |||
| Jean Dudan | |||
| Ritza Brown | |||
| Hélène Beaucour | |||
| Julia Sebastian | |||
| Enzo Fabbri | |||
| Carlo Colombo | |||
| Patrizia Dordi | |||
| Dieter Stengel |
Directed by | |||
| Liliana Cavani | |||
Writing credits | ||
| Liliana Cavani | (story) | |
| Liliana Cavani | (screenplay) and | |
| Franco Arcalli | (screenplay) & | |
| Italo Moscati | (screenplay) | |
Produced by | |||
| Silvio Clementelli | .... | executive producer | |
| Esa De Simone | .... | associate producer | |
| Robert Gordon Edwards | .... | producer | |
Original Music by | |||
| Daniele Paris | |||
Cinematography by | |||
| Armando Nannuzzi | |||
Film Editing by | |||
| Franco Arcalli | |||
Production Design by | |||
| Fiorenzo Cattaneo | |||
| Lorenzo Mongiardino | |||
Set Decoration by | |||
| Osvaldo Desideri | |||
Costume Design by | |||
| Piero Tosi | |||
Makeup Department | |||
| Gilberto Provenghi | .... | makeup artist | |
| Aldo Signoretti | .... | hair stylist | |
Production Management | |||
| Piero Amati | .... | unit manager | |
| Sergio Iacobis | .... | production manager (as Sergio Jacobis) | |
| Nicola Venditti | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Albino Cocco | .... | assistant director | |
| Paola Tallarigo | .... | assistant director | |
Art Department | |||
| Nedo Azzini | .... | set designer | |
Sound Department | |||
| Fausto Ancillai | .... | sound mixer | |
| Roberto Arcangeli | .... | boom operator | |
| Piero Fondi | .... | boom operator | |
| Vittorio Massi | .... | sound engineer | |
| Emilio Verona | .... | sound engineer | |
Camera and Electrical Department | |||
| Marco Cristiani | .... | assistant camera | |
| Nino Cristiani | .... | camera operator (as Michele Cristiani) | |
| Giullio Diamanti | .... | key grip | |
| Daniele Nannuzzi | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Thomas Casterline | .... | assistant costume designer | |
| Adriana Masseroni | .... | seamstress (as Anda Masseroni) | |
| Anna Orazi | .... | seamstress | |
| Alberto Verso | .... | assistant costume designer | |
Editorial Department | |||
| Laura Caccianti | .... | second assistant editor | |
| Elvio Sordoni | .... | first assistant editor | |
Music Department | |||
| Arnaldo Graziosi | .... | musician: piano | |
| Daniele Paris | .... | conductor | |
Other crew | |||
| Amedeo Amodio | .... | choreographer | |
| Marisa Calia | .... | script supervisor | |
| Alberto De Stefani | .... | administrator | |
| Giacomo Longo | .... | production secretary | |
| Roberta Revetria | .... | assistant production secretary | |
| Maria Ruhle | .... | press agent | |
| Enzo Sisti | .... | production accountant | |
| Paola Surdi | .... | assistant production secretary | |
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| Full cast and crew | Company credits | IMDb Drama section |
| IMDb Italy section | Add this title to MyMovies |
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.