Le Casanova de Fellini (1976) - Rotten Tomatoes

Le Casanova de Fellini (1976)

TOMATOMETER

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AUDIENCE SCORE

Critic Consensus: No consensus yet.

Movie Info

L'histoire du célèbre séducteur vénitien. Donald Sutherland, Tina Aumont, Cicely Browne, Carmen Scarpitta, Clara Algranti, Margaret Clementi, Olimpia Carlisi. Un film de Federico Fellini.
Rating:
R
Genre:
Comedy , Drama
Directed By:
Written By:
In Theaters:
 wide
Runtime:
Studio:
Produzioni Europee Association

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Cast

Donald Sutherland
as Giacomo Casanova
Tina Aumont
as Henriette
Cicely Browne
as Madame D'Urfe
Carmen Scarpitta
as Madame Charpillon
Clara Algranti
as Marcolina
Daniela Gatti
as Giselda
Margareth Clémenti
as Soeur Maddalena
Mario Cencelli
as Moebius
Olimpia Carlisi
as Isabella
Silvana Fusacchia
as La soeur d'Isabella
Leda Lojodice
as Rosalba
Clarissa Mary Roll
as Anna Maria
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Critic Reviews for Le Casanova de Fellini

There are no critic reviews yet for Le Casanova de Fellini. Keep checking Rotten Tomatoes for updates!

Audience Reviews for Le Casanova de Fellini

Never had a Fellini film looked so incredibly stunning as this gorgeous period drama/character study that, even though a bit overlong, has the kind of episodic structure typical of Fellini but all the more suitable here for a story about a pitiful man who goes from one bed adventure to the next in his sterile life.

Carlos Magalhães
Carlos Magalhães

Super Reviewer

½

Fellini's luxuriant, sardonic picture, is a great account of human sexuality, impotence and our basest instincts and desires, with a sublime performance from Donald Sutherland.

Michael Tapakoudes
Michael Tapakoudes
½

What happens when you put "La Dolce Vita," "Satyricon," and "Giulietta degli Spiriti" into a blender and mold the remnants around the pseudobiopic of an 18th century libertine? You get "Fellini's Casanova," that's what! Although many consider "Amarcord" to be Fellini's last great film, he knocks it out of the ballpark with the phantasmal, anachronistic, decadent, Jungian, social commentary/character study "Casanova." The film is an intoxicating Frankenstein of "Satyricon"s lush, colorful, malodorous, visual richness juxtaposed in a decaying culture, "La Dolce Vita"s portrayal of a man unable to love and whose quixotic dreams of artistic respect is only undermined by his myopic debauchery, and "Giulietta degli Spiriti"s glorious overabundance of Jungian associations which blur the lines between fantasy and reality. You can even throw in some "8 1/2" in there; the bottom line is that Fellini has presented us yet another masterpiece overflowing with his style and trademarks. Granted, I'll admit that this film obviously does not reach the lofty heights of any of the aforementioned films it borrows so heavily from (which is still all from the mind and experiences of Fellini,) perhaps with the exception of "Satyricon." And, in hindsight, it becomes potent that this picture is reserved only for the fans. However, if you happen to love Fellini you'll have a great time watching this magnificent film where he is at his most indulgent, unrestrained, and freelance. I also, personally, consider this to be his most surreal film, considering how he somehow managed to convincingly turn Donald Sutherland, Conrad Jarrett's tenderly loving father, into an androgynous womanizing sexual deviant.

Edward Stymest
Edward Stymest

Super Reviewer

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