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Fellini Satyricon (Widescreen)


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  • This item: Fellini Satyricon (Widescreen)

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Product Details

  • Actors: Martin Potter, Hiram Keller, Max Born, Salvo Randone, Mario Romagnoli
  • Directors: Federico Fellini
  • Writers: Federico Fellini, Bernardino Zapponi, Brunello Rondi, Petronius
  • Producers: Alberto Grimaldi
  • Format: Anamorphic, Closed-captioned, Color, DVD-Video, Subtitled, Widescreen, NTSC
  • Language: English, Italian
  • Subtitles: English, Spanish, French
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Aspect Ratio: 2.35:1
  • Number of discs: 1
  • MPAA Rating: R
  • Studio: Fox Video
  • Release Date: April 1 2003
  • Run Time: 128 minutes
  • Average Customer Review: 3.6 out of 5 stars  See all reviews (36 customer reviews)
  • ASIN: B000059H9C
  • Amazon Bestsellers Rank: #23,650 in DVD (See Top 100 in DVD)


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Customer Reviews

3.6 out of 5 stars
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Most helpful customer reviews

Format: DVD
Occasionally a movie comes along in which a simplistic, mono-dimensional meaning isn't laid out in such a way that even the laziest minds just couldn't miss it. I remember as a teenager seeing this movie for the first time, and being astounded that all that people seemed to see were shocking depictions of Roman decadence. I had sat through the movie amazed at its extraordinary cinematography, and overwhelmed by a moral story of epic proportions. Like most great art, the meaning of Satyricon is multi-layered, and reflects against itself enough to hold a richness of ambiguity that unfolds more for me each time I see it. I was also incredulous to read reviews accusing the movie of being formless. On the contrary, Fellini had created a beautifully structured work out Petronius' rather episodic tales.
Satyricon is a powerful portrayal of a young man's quest to rediscover the potency he has lost in a corrupt world (our world being no less corrupt than that of Fellini's Rome), both sexually and aesthetically. The events and characters in the movie resonate deeply with mythic archetypes, all playing a part in Encolpio's quest.
If you want a key for delving into the structural and metaphysical meaning of this movie, consider the two legacies of Eumolpus: the first he offers to Encolpius as they lie in the fallow fields after being evicted from Trimalchio's Feast, just as the dawning sun begins to lighten the sky. The second he leaves at the end of the movie to those who will consume his body. The first is the wealth of poetry, of the heavens, the earth, the air, of life itself. The second is worldly wealth and its corruptions.
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By Lao Che on Jan. 25 2004
Format: DVD
FELLINI SATYRICON - the first film I experienced directed by Federico Fellini. I was with two or three other people in a small theater, and remember sitting through the movie with my jaw gaping like a little kid watching cartoons; I was on the edge of my seat. I walked out and spent an hour or so trying to figure out what the hell it was I just saw? Favorite scenes: Vernacchio, marriage at sea, minotaur. I later read that Fellini had always wanted to make a science fiction picture, and SATYRICON was the closest he would come to that goal.
Petronious Arbiter was a Roman scholar and poet who mixed with the courtesans of the emperor Nero. The remains of his writings are his observations of the world he lived; ultimately, he was "asked" by Nero to end his own life for various insults to the emperor. A strange, distant world is painted in the fractured remains of the Satyricon. Fellini used the text as a jumping off point to attempt to imagine a world completely alien to our own (images, sound, everything). Fueling this tour-de-force of invention is the period of the film's creation - the late sixties. If not directly quoted in its scenes, the spirit and free form of the late sixties definitely influenced Fellini and company.
BARBARELLA comes to mind as a comparison, in terms of color pallet, bizarre situations and a comic book quality - psychedelia at its finest. Fellini's interpretation of the Satyricon seems to capture that weird pulse of chaos and the "climate" of revolution; stripping away a mere "classic literature travelogue" approach - and presenting a libidinal sideshow of monsters, perverts, politicians, artists, and other variations of the human condition.
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Format: DVD
Fellini has a unique gift for visuals, and uses the human oddities the way a great master painter uses his paints; lavishly and always to great effect. When the movie was being cast, there were long, long lines of the most unusual and the most freakish people in Italy; this made for a fascinating spectacle and was in itself, a show. No one has Fellini's eye, and this is most evident in Satyricon, IMHO his best movie. The most striking and unusual image presented is the albino hermaphrodite; the fact that Fellini was even able to find this extreme human oddity is a feat in itself, and presents a truly unique and unforgettable image on the big screen. You literally cannot take you eyes off the screen for one second; you cannot afford to miss anything, all is pertinent, all is fascinating and all is integral to the "show" Fellini wanted to present and succeeds brilliantly. No circus, no sideshow in history can hold a candle to the ultimate showman and visual storyteller. Don't try to analyze; don't try to "read" into anything, just sit back and enjoy and allow the images to take you on an unforgettable journey. P.T. Barnum would be green with envy...or applaud wildly, or both. His images remain in your mind's eye for years afterwards, and that is the mark of the true artist and visionary.
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Format: DVD
I could rave, as so many have, about Fellini's Satyricon, but the reason I write has to do with some background about the story itself. Satyricon is actually an ancient text, one of the oldest we have in the West. The author is Greek. (I have a copy of the original Satyricon in a box somewhere, or I would give you the author's name.) Satyricon - the original, not written by Fellini - is not complete. Time and abuse have erased a large portion of the document. Sometimes lines are interrupted. Sometimes chapters, scholars think, have been erased. This might make wild sense to those who have seen Fellini's Satyricon - as one reviewer points out, the story seems to jump from place to place, from the unexpected to the unexpected. I hope this may appease a few complaints about this classic piece of cinema - Fellini has simply illustrated a marvelous, earthy, classical text that reveals itself only in fragments.
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