2-3. It's an intentional desolation of its source material that sucks the magic away from its abstract evocations (like receiving the flame of vitality from the divine mother) by scoring with little more than wind, and peppering the story with frequent outbursts of psychotic laughter. But the bigger issue is the way the movie ceases any kind of momentum for about an hour, making its hero a victim of happenstance.
Fellini called it a science fiction film, but one set in the distant past. Certainly it's a work that transports its audience to a world beyond imagination; casting us in the role of alien anthropologist; here to excavate the ruins of human experience to find the stories within. It's Fellini at the peak of his abilities; filling every inch of the frame with dazzling sequences, grotesque images, humor, horror, poetry.
Man, Satyricon is so hard to watch. That's a huge change of pace for Fellini considering totally his movies are generally very welcoming, and his characters are sympathetic. Not so much for this one. I don't think I could watch it again, but I'm glad I did. I'll say the colours are excellent.
Lo mejor de "Satiricón" es sin duda su puesta en escena. La escenificación de Fellini es carnavalesca, plagada de contrastes y rostros burlescos. Su trama sin embargo no deja de ser irregular. Hay una estructura que merecía una división entre capítulos. La conexión entre las aventuras de este héroe que se asocia con la mitología no tiene grandes giros; son meras secuencias y vicisitudes.
Fellini's Satyricon is an Dionysian celebration of humanity. Visually, it is a magnificent spectacle, rich with sensual colors and beauty which reminds us of the old frescoes of Pompeii. This is a primitive, violent, sexual dream voyage to the ancient world as seen by that amazing imaginative mind that was Fellini's. Many of the characters leave a permanent impression on the viewer, and I particulary enjoyed Gitone.
I would not be very fond of Satyricon if I decided for myself that it was a riposte to the excesses of the time (the late-60s). I am, rather, forced to see it as a sort of queasy celebration of the pan-sexual, pagan cast of our species activity when we back up and study it from a distance. This is what any era-cluster looks like from outer space. Glad I waited and wasn't introduced to Satyricon on pan-and-scan VHS.
Way back in my teens this was the first Fellini I ever watched (dubbed and heavily edited) and I swore off the guy. Jump forward to today, 8 1/2 is my favorite film and I gave this another watch. Suddenly it's an unfiltered, difficult masterpiece from a director at his most ambitious. THIS is what people are referencing when they say "Felliniesque." Plus, the male eye candy isn't half bad...
While I was watching it, I wasn't often sure of what was going on with the plot, but Fellini's Satyricon is not focused on boring things like plot or coherence. Fellini is instead after a mood, a feeling - the decadence and depravity of Ancient Rome filtered through the fabric of the late 60's and its summers of love. The film is outrageous, lascivious, and not for the feint of heart. In a word: brllliant.