{"id":2495,"date":"2023-02-20T09:28:33","date_gmt":"2023-02-20T08:28:33","guid":{"rendered":"https:\/\/museofellini.studiovisuale.it\/fellini-satyricon\/"},"modified":"2023-03-01T10:16:43","modified_gmt":"2023-03-01T09:16:43","slug":"fellini-satyricon","status":"publish","type":"post","link":"https:\/\/fellinimuseum.it\/en\/fellini-satyricon\/","title":{"rendered":"Fellini Satyricon"},"content":{"rendered":"
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Fellini Satyricon<\/h1>\n
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Year: 1969
\nFormat: Colour
\nRuntime: 138 min
\nProduction: P.E.A. (Roma), Les – Productions Artistes Associe\u00e9s (Paris)
\nWord sales: P.E.A. (Roma)
\nViewed censorship: 5455603\/09\/1969<\/p>\n

Two young men, Encolpius and Ascyltus, are in love with an effeminate boy named Giton. Ascyltus \u2018steals\u2019 Giton from Encolpius and sells him to Vernacchio, an actor of vulgar pantomimes. Encolpius manages to take Giton back, and they hid in a palace inhabited by depraved people. Giton – who is allowed to choose one of the two young men – prefers Ascyltus. Encolpius intends to commit suicide, but he\u2019s saved by an unexpected earthquake. Encolpius meets an old poet called Eumolpus, who takes him to the court of Trimalchio, a freed man, where a wild and decadent party is taking place. At the Villa, Eumolpus is heavily beaten, and Trimalchio takes his guests to the tomb where he will be buried. Encolpius is enslaved and meets Giton, and Asciltus on pirate Lichas\u2019 ship, a middle-aged merchant working for the Emperor. Giton is obliged to make sex with a young girl while Encolpius, after having been defeated by Lichas in a Greco-Roman wrestling match, marries her. We continue to follow Encolpius through a series of adventures: he becomes impotent and is cured by Enotea\u2019s Holy Fire, and then he\u2019s forced to fight against the Minotaur. When Ascyltus is murdered, Encolpius decides to board Eumolpus’ ship, that is bound for North Africa. When Eumolpus dies Encolpius refuses to eat his corpse, and thus gives up the possibility of becoming his heir.<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n

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Crew<\/strong><\/p>\n

Director: Federico Fellini
\nStory: liberamente tratto da Petronio Arbitro
\nScreenplay: Federico Fellini, Bernardino Zapponi
\nCinematography: Giuseppe Rotunno
\nCamera operator: Giuseppe Maccari
\nOptical effects: Joseph Natanzon
\nMusic: Nino Rota con la collaborazione di Ilhan Mimaroglu, Tod Docksader, Andrew Rudin
\nProduction design idea: Federico Fellini
\nProduction design: Danilo Donati, Luigi Scaccianoce
\nCostume design: Danilo Donati
\nSet decorator: Danilo Donati
\nAssistant production designer: Dante Ferretti, Carlo Agate
\nWardrobe assistant: Franco Antonelli, Renzo Bronchi, Dafne Cirrocchi
\nPainting consultant: Rino Scordia
\nPictorial supervisor: Italo Tomassi
\nArchitecht: Giorgio Giovannini
\nFilm editing: Ruggero Mastroianni
\nAssistant editor: Adriana Olasio
\nEdition: Enzo Ocone
\nScript supervisor: Norma Giacchero
\nFirst assistant director: Maurizio Mein
\nSecond assistant director: Liliana Betti, Lia Consalvo
\nMakeup artist: Rino Carboni
\nHair Stylist: Luciano Vito
\nConsultant for Latin language: Luca Canali
\nStill photographer: Mimmo Cattarinich
\nProducer: Alberto Grimaldi
\nProduction manager: Enzo Provenzale
\nProduction supervisor: Lamberto Pippia, Gilberto Scarpellini, Fernando Rossi
\nProduction secretary: Michele Pesce<\/p>\n

Cast<\/strong><\/p>\n

Martin Potter : Encolpio
\nHiram Keller : Ascilto
\nMax Born : Gitone
\nSalvo Randone : Eumolpo
\nMario Romagnoli : Trimalcione
\nMagali No\u00ebl : Fortunata
\nCapucine : Trifena
\nAlain Cuny : Lica
\nFanfulla : Vernacchio
\nDanika La Loggia : Scintilla
\nGiuseppe Sanvitale : Abinna
\nGenius : liberto arricchito
\nLucia Bos\u00e8 : la matrona suicida
\nJoseph Wheeler : il suicida
\nHylette Adolphe : la schiavetta
\nTanya Lopert : l’imperatore
\nGordon Mitchell : il predone
\nLuigi Montefiori : Minotauro
\nMarcello Di Falco : proconsole
\nElisa Mainardi : Marianna
\nDonyale Luna : Enotea
\nCarlo Giordana : il capitano della nave
\nPasquale Baldassarre : l’ermafrodita
\nLina Alberti : l’idolo d’oro – parte tagliata al montaggio<\/p>\n

Awards<\/strong><\/p>\n

1970
\nSilver Silver Ribbon for Best Supporting Actor: Fanfulla
\n1970
\nSilver Silver Ribbon for Best Cinematography, Color: Giuseppe Rotunno
\nSilver Silver Ribbon for Best Production Design: Danilo Donati and Luigi Scaccianoce
\nSilver Silver Ribbon for Best Costume Design: Danilo Donati
\nAcademy Award Nomintaion for Best Direction<\/p>\n

Peculiarites<\/strong><\/p>\n

“Petronious Satyricon is a mysterious text, first of all because it is fragmentary. But this fragmentary character symbolizes the very fragmentary nature of the Ancient World as we conceive it today. This is why the text and the world it represents are so fascinating. During the shootings I was faced with an unknown landscape, the fog was so thick that only for few seconds it dissolved and allowed me to see the landscape. The Ancient World is to me like a lost and unknown world. The only way I can approach it is through creativity and imagination, without resorting to any historical background or information”.
\n(Federico Fellini, Un regista a Cinecitt\u00e0, Mondadori, Milan, 1988, p. 127)<\/p>\n

Reviews<\/strong><\/p>\n

“Fellini’s Rome bears no relation to the Rome we learned about in school books, and it touches upon a special topic, namely two-wheeled chariots. It is not set in history, but rather in a part of the unconscious where the episodes reported by Petronius are included among Fellini\u2019s ghosts (\u2026) His Satyricon is a journey through fairytales for adults. It is evident that Fellini \u2013 as he finds out that these ancient characters share his own human and artistic doubts – wonders if man\u2019s universal and eternal condition does not lead to the awareness of the transience of life”.
\n(Giovanni Grazzini, Corriere della Sera, 5 September 1969)<\/p>\n

“Fellini defined Satyricon as \u201ca science fiction essay on the past\u201c, as if the Romans of that decadent age were being observed by flying saucers\u2019 astonished inhabitants. Curiously enough, in this effort of objectivity, the director has created a film that is very subjective, and requires a psychoanalytic approach to be analyzed. It is pointless to debate whether the film proposes a plausible interpretation of ancient Rome, or whether it resembles Petronius\u2019 descriptions. The least surprising parts are those that come closest to Petronius’s text or that have some vague historical significance.” The author\u2019s creativity is fully developed in the visit of \u201cSuburra\u201d, in Alan Cluny\u2019s grotesque wedding where he is dressed as a woman, in the final struggle with the fake Minotaur. It is almost always a claustrophobic, nocturnal and unhealthy atmosphere”.
\n(Tullio Kezich, \u201cPanorama\u201d, 18 September 1969)<\/p>\n

“Satyricon is an extraordinary effort of translating something mysterious and unknown into symbolically powerful images. It is like a long dream full of adventures where he episodes differ in terms of quality and taste. Fellini, in any case, discovered Ancient Rome in a very original way, far from banalities and clich\u00e9s. Satyricon does include monsters and shivering, and death dimension is always present. Death is probably the very theme linking all the different film episodes”.
\n(Angelo Solmi, \u201cOggi\u201d, 17 September 1969)<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":3,"featured_media":2434,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20,22],"tags":[30],"class_list":["post-2495","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fellini-en","category-filmography","tag-display"],"acf":[],"yoast_head":"\nFellini Satyricon - Fellini Museum<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fellinimuseum.it\/en\/fellini-satyricon\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fellini Satyricon - 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