Fellini - Satyricon
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Movie Reviews of Fellini - Satyricon
Movie Review: Bizarre work of genius
Summary: 5 Stars
There is nothing like Satyricon that I've ever seen (ok, except maybe The Serpent's Egg, which is very shocking and disturbing). Visually orgiastic, pagan, sadistic, earnest, creepy, and disgusting; but also featuring some of the most beautiful actors ever to stand in front of a lens.
To me, this is by far the most interesting and arresting of Fellini's films.
Movie Review: Amazing Classic
Summary: 5 Stars
If you are a fan of film, and haven't seen this (most people haven't), then GET IT! I enjoy this much more than 8 1/2. Simply astounding that Fellini was able to have this produced. The scale is ENORMOUS. Only Peter Greenaway gets away with anything this elaborate anymore.Movie Review: Dude, it's Fellini
Summary: 5 Stars
Creepy.
Disturbing.
Weird.
Fellini takes us to ancient Rome in Satyricon; a world of greed, lust, and gluttony.
I don't want to kill it for anyone, but if you are open for an eerie adventure, check it out.
Movie Review: classic hardcore movie
Summary: 5 Stars
this is one of my favorites. gives a good adult view of ancient rome. similar to the shows rome , spartacus.Movie Review: Visually Stunning But Disjointed and Sterile
Summary: 4 Stars
If one rates a film on visuals alone, Fellini's SATYRICON would surely be completely off the scale: a phantasmagorical mixture of sensual beauty and the distasteful but evocative grotesque set in an ancient Rome that never was, never could have been, and yet which plays up to every extreme concept we secretly harbor about Roman decadence. The leading men are incredibly beautiful; the women are generally seductively depraved; and the broad vision that Fellini offers is easily one of the visually stunning creations ever put to film.And yet, oddly, the film is sterile. The story is impossible to describe, a series of largely unrelated events in the lives of two impossibly handsome youths (Martin Potter and Hiram Keller) who begin the film by battling over the sexual favors of a slave boy (Max Born) who alternately unites and divides them until all three find themselves sold into slavery and flung from adventure to adventure, most often with sexual (and frequently homosexual) connotations. Clearly, Fellini is making a statement about the triviality and emptiness of a life lived for physical pleasures alone. But the film is jumpy, disjointed, disconnected; the sequences do not always arise from each other in any consistent way, leaving viewers with a sort of "what the ..." reaction when the film unexpectedly shifts without explanation. In consequence, SATYRICON is ultimately less about any philosophical statement Fellini may have had in mind than it is about sheer pictorial splendor and deliberate weirdness.
Whatever its failings, it is an astonishing film, and one that would have tremendous influence on a host of directors who followed in Fellini's wake--although all to often without his style and vision. Clearly Pasolini, director of such works as SALO, ARABIAN NIGHTS, and CANTERBURY TALES spent the better part of his largely unlamented life trying to out-Fellini Fellini; likewise, it is impossible to imagine how Tinto Brass and Bob Guccione arrived at the notorious CALIGULA without reference to Fellini's SATYRICON. Such efforts to expand on SATYRICON were merely more explicit and less interesting than the original, and I do not really recommend them--nor do I really recommend SATYRICON for any one other than Fellini fans, for with its oddly disjointed feel it is unlikely to please those raised on mainstream. Still, it is a powerful, remarkably beautiful, and completely unexpected film that must be seen at least once by any one with a serious interest in world cinema, and to those I recommend it without hesitation.
--GFT (Amazon.com Reviewer)--