Fellini - Satyricon (The Degenerates) (1969)
Average Rating: 7/10
Reviews Counted: 22
Fresh: 17 | Rotten: 5
No consensus yet.
Average Rating: 7.3/10
Critic Reviews: 6
Fresh: 5 | Rotten: 1
No consensus yet.
Average Rating: 3.7/5
User Ratings: 9,473
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
Aug 3, 1969 Wide
Apr 10, 2001
Danika La Loggia
Soldier at Tomb
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Federico Fellini presents an incredible fresco-like vision of Rome's social structure 2,000 years ago in which survival and pleasure were man's sole motivating forces.
A shallow, hypocritical film, without a glimmer of genuine creativity.
Fellini's characteristic delirium is in fact anchored in a precise, psychological schema: under the matrix of bisexuality, he explores the complexes of castration, impotence, paranoia and libidinal release.
Those who don't weaken and bolt for the door experience a one-of-a-kind visual adventure they are unlikely to forget.
It is a surreal epic that, I confidently believe, will outlive all its interpretations.
It is so much more ambitious and audacious than most of what we see today that simply as a reckless gesture, it shames these timid times. Films like this are a reminder of how machine-made and limited recent product has become.
True, the various strands are never bound together, but with material this sumptuous it really doesn't matter.
The odd thing is that the excess seems visual and mythical rather than really sexual.
Fellini received a well deserved Oscar nomination for this bizarre, wildly flamboyant but plotless spectacle, inspired by the firt century author Petronius, flaunting glorious production values.
Felliini's ancient Roman tale with a modern message is as cynical and bleak as its images are startling and original.
The film is either a celebration of depravity or a warning against Godlessness, though no one knows which and Fellini doesn't bother to make the distinction himself.
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