An interesting film from Fellini, but not a pleasant film to sit through.
Like a very beautiful and interesting painting, in red, gold yellow and brown tones, a little of green and the blue of the sky and sea. It was a bit tiring and very weird film, and sublime at several sequences, like poetry.
Altamont among the ancients? Arguably. "We blew it," could conclude this film as aptly as Easy Rider, but instead it chooses fidelity to Petronius and doesn't conclude at all, but simply ends, Encolpius' final sentence dangling as he shifts from flesh to fresco. Not among Fellini's best, but notable, among other reasons, for presenting some astonishingly beautiful humans amongst all the technicolor squalor.
Desde sus primeras escenass, este trabajo de Fellini se impone como un portentoso espectaculo audivisual, cuyas imagenes alcanzan una perfección plastica capaz de quitar el aliento, gracias a la habilidad del director y a los decorados de Danilo Donatti. Dicho esto, no se puede dejar de reconocer que esta cinta resulta, como casi todo el cine de Fellini, aburrida hasta la chingada. Para verse con un Red Bull encima.
Of course it is one of Fellini's most visually extravagant and strangest films, but it lacks the magic that I normally expect from my Fellini. Satyricon just sort of plods along trying to be hypnotic, but it just never works out that way. Maybe it has something to do with the fact that there's no Nino Rota score, because usually the music sets the pace in Fellini. Or maybe it was just mismatched expectations.
This is a film about the banality of a lifestyle based on materialism and sex. It also satirizes the lifestyle of the roman civilization and shows that perhaps the romans were no less barbaric than the others. I found this film very humourous and delirious.
People are scared of free imagination. They want closed meanings and clean philosophical truths, but how boring they are when you found them. Imagination !!
Spectacularly louche and episodic adventures in a sexually heightened Rome, with various assemblies of grotesquery and freakery, as our well-oiled heroes cavort through monumentally scaled sets towards... what? Nothing in particular, apart from Fellini’s bawdy imagination writ large. No great meaning to it and certainly not a conclusive whole, but Encolpio has plenty of fun with his along the way.