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Fellini Satyricon

Fellini Satyricon

Director: Federico Fellini Cast: Martin Potter, Hiram Keller, Max Born

Blu-ray (Wide Screen)

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Overview

Federico Fellini makes his most decadent, undisciplined work in this free adaptation of Petronius' famous farcical chronicle of ancient Roman life. The film opens with Encolpio (Martin Potter) vying with his friend Ascilto (Hiram Keller) for the affections of a young effeminate lad named Gitone (Max Born). When the youth chooses his rival or him, Encolpio begins a journey that has him encountering Romans of every stripe and color. He drops in on an orgy thrown by Trimalchio (Mario Romagnoli), a wealth-loving ex-slave who has spurned his wife in favor of a pleasures of a young boy; he toils on a slave galley, fighting off the advances of Lichas (Alain Cuny) -- the ship's burly wall-eyed captain; he steals an albino hermaphrodite demi-god who is reputed to be able to tell the future; and fails to summon the enthusiasm to make love to a whore-priestess. Along the way, we witness a parade of prostitutes in ancient Rome's pleasure quarters; watch performance by Vernacchio (Fanfulla), an actor whose on-stage specialties include farting and public amputation; and the wonton devouring of a human corpse for financial gain.

Product Details

Release Date: 02/24/2015
UPC: 0715515136518
Original Release: 1969
Rating: R
Source: Criterion
Region Code: A
Presentation: [Wide Screen]
Time: 2:10:00

Special Features

Audio commentary featuring an adaptation of Eileen Lanouette Hughes's memoir On the Set of "Fellini Satyricon": A behind-the-scenes diary; Ciao, Federico!, Gideon Bachmann's hour-long documentary shot on the set of Fellini Satyricon; Archival interviews with Director Federico Fellini; New interview with Rotunno; New documentary about Fellini's adaptation of Petronius's work, featuring interviews with classicists Luca Canali, a consultant on the film, and Joanna Paul; New interview with photographer Mary Ellen Mark about her experiences on the set and her iconic photographs of Fellini and his film; Felliniana, a presentation of Fellini Satyricon ephemera from the collection of Don Young; Trailer; Plus: an essay by film scholar Michael Wood

Cast & Crew

Performance Credits
Martin Potter Encolpius
Hiram Keller Ascyltus
Max Born Giton
Salvo Randone Eumolpus
Mario Romagnoli Trimalchio
Magali Noël Fortunata
Capucine Tryphaena
Alain Cuny Lichas
Lucia Bosé Wife
Joseph Wheeler Husband
Hylette Adolphe Slave Girl
Tanya Lopert Empress
Luigi Montefiore Minotaur
Elisa Mainardi Ariadne
Luigi Battaglia Transvestite
Luigi Visconti Vernacchio
Danika La Loggia Scintilla
Fanfulla Vernacchio
Wolfgang Hillinger Soldier at Tomb
Donyale Luna Oenothea
Gordon Mitchell Robber
Lorenzo Piani Nymphomaniac's husband
Giuseppe Sanvitale Habinnas
Richard Simmons Actor

Technical Credits
Federico Fellini Director,Screenwriter
Rino Carboni Makeup
Tod Dockstader Score Composer
Danilo Donati Art Director,Costumes/Costume Designer,Production Designer,Set Decoration/Design
Giorgio Giovannini Art Director
Alberto Grimaldi Producer
Ruggero Mastroianni Editor
Ilhan Mimaroglu Score Composer
Adriano Pischiutta Special Effects
Brunello Rondi Screenwriter
Nino Rota Score Composer
Giuseppe Rotunno Cinematographer
Andrew Rudin Score Composer
Carlo Rustichelli Score Composer
Luigi Scaccianoce Art Director
Bernardino Zapponi Screenwriter

Customer Reviews

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Fellini Satyricon 4.8 out of 5 based on 0 ratings. 4 reviews.
Guest More than 1 year ago
Fellini's Satyricon is a loosely based adaptation of Petronius' work of the same title; a classical author who lived a life of hedonism during Nero's reign. As with the book, the film follows the debauched lives of Encolpius and Ascyltus, two rhetoricians fighting over their amorous desires for Giton, a slave boy who manipulates his masters through pleasure. As with the original work, the film is disjointed and fragmentary. The film is unique for its surreal and provocative imagery. Fellini successfully reduces the distincition between societal values of post-industrial society and pagan Rome with a blend of classical and futuristic imagery. Fellini also follows Petronius' work by including the chapter of Trimalchio's feast; presenting a pun-laden caricature of a decadent society obsessed with pursuing wealth and pleasure at the expense of everything else. Watching this scene or reading this part in the book, one begins to see how little human nature has changed despite the passage of almost 2000 years. Fellini also seems to want to break the myth of the clean, sober, and orderly Roman empire portrayed by Hollywood in preceding years. Fellini shows no restraint (as with Petronius) in displaying the vulgar and obscene without flinching; this however, is not done in a gratuitous manner and shows his brilliance as a film director. To those who aren't familiar with Fellini or this film in particular, I would either read the Satyricon itself or rent the film before you actually buy it: it may not be your taste.
Guest More than 1 year ago
This film is an epic that is confusing, breathtaking, and strange: A true epic. It could have gotten more Oscar nominations, though. It should have also qualified for Art Direction, Coustume Designe and Cinematography.
Guest More than 1 year ago
This is Fellini at his most obsessive, most questioning, most contradictory, filled with images, colors, sounds and plots which will fill your dreams and occupy your creative mind forever.
Guest More than 1 year ago
Fellini Satyricon has not always been treated very well by critics and even some Fellini fans. It IS messy, hard to follow, and the plot appears to meander all over the place, at times. But it is as visually interesting as any film by anybody you are ever likely to see: and that is what first held my attention -- so beautiful and unique. I saw it three or four times when it was first released and never found it less than fascinating, daring, and possibly even brimming with meanings which Fellini refused to just spell out. He seemed to have a dream in mind, and that quality was certainly achieved. Coming back to the film as recently as 6 months ago, I have found it to contain truths about the meaning of love among friends and trusted commrades, which I was too inexperienced to grasp at the time. I see in it the searches we make for ourselves and often one another in our youth, but have grown too cautious or too hardened to embark upon later in life. And I see the wise poet not only getting a kind of revenge, but having to sell his soul to get it: some role model! And it still is alarming and terribly beautiful; but recently, for the first time, I cried and was profoundly moved inside my heart as well as my head. It is unique even for Fellini: but it is still the master's touch.