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."Īnd, in hindsight, it becomes potent that this picture is reserved only for the fans. 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. 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!Īlthough 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.
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