{"id":4040,"date":"2023-11-03T16:32:51","date_gmt":"2023-11-03T15:32:51","guid":{"rendered":"https:\/\/museofellini.studiovisuale.it\/?p=4040"},"modified":"2023-11-03T16:33:47","modified_gmt":"2023-11-03T15:33:47","slug":"il-casanova","status":"publish","type":"post","link":"https:\/\/fellinimuseum.it\/en\/il-casanova\/","title":{"rendered":"Il Casanova di Federico Fellini"},"content":{"rendered":"
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Il Casanova di Federico Fellini<\/h1>\n
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Year: 1976<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Format: Colour<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Runtime:\u00a0 170 min<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Production: PEA<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Word sales: Titanus<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Viewed censorship: 69484 01\/12\/1976<\/p>\n

During the Venetian carnival Giacomo Casanova agrees to show his amorous valor with Sister Magdalena and thus please the woman’s voyeur lover, the French ambassador from whom Casanova hopes to gain benefits. But he is arrested by the Inquisition on charges of black magic. He escapes from the Piombi prison and is in Paris as a guest of the Marquise d’Urf\u00e9 who wants to obtain from him the secret of immortality. Then Casanova leaves Paris and resumes his frenzied activities as a seducer. Among his loves is the unhappy one with Henriette, who makes him despair and abandons him. In Rome he participates in an amatory contest with a Pololano, winning it. In Rome he also meets the pope and his mother, who by then has little interest in his fortunes. Finally, old age, employment as a librarian, his charm fading, the oblivion of the courts, until the loneliness of a dance with a mechanical doll, a memory of an increasingly distant past.<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\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
\nSubject: loosely based on “Storie della mia vita” by Giacomo Casanova
\nScreenplay: Federico Fellini, Bernardino Zapponi
\nPhotography: Giuseppe Rotunno (Technicolor)
\nCameraman: Massimo Di Venanzo
\nAssistant Cameraman: Wolfgango Soldati, Bruno Garbuglia
\nMusic: Nino Rota
\nConductor: Carlo Savina
\nSongs: “La grande mouna” by Tonino Guerra, “La mantide religiosa” by Antonio Amurri, “Il cacciatore di Wurtemberg” by Carl A. Walken
\nVerses in Venetian dialect: Andrea Zanzotto
\nSet design: Federico Fellini
\nSet design: Danilo Donati
\nCostumes: Danilo Donati
\nAssistant costumes: Gloria Mussetta, Raimonda Gaetani, Rita Giacchero
\nArchitect: Giantito Burchiellaro, Giorgio Giovannini
\nSet design assistant: Antonello Geleng
\nEditing: Ruggero Mastroianni
\nEditing assistant: Adriana Olasio, Marcello Olasio, Ugo De Rossi
\nAssistant directors: Maurizio Mein, Liliana Betti, Gerard Morin
\nEditing secretary: Norma Giacchero
\nProduction inspector: Gilberto Scarpellini, Alessandro Gori, Fernando Rossi
\nFurniture: Emio D’Andria
\nSound: Oscar De Arcangelis
\nSound assistants: Franco De Arcangelis, Massimo De Arcangelis
\nMixage: Fausto Ancillai
\nChoreography: Gino Landi
\nChoreography assistant: Mirella Agujaro
\nScenotechnician: Italo Tomassi
\nPaintings: Rinaldo Geleng, Giuliano Geleng
\nDrawings for the magic lantern: Roland Topor
\nSculptures: Giovanni Giannesi
\nMakeup: Rino Carboni (Giannetto De Rossi and Fabrizio Sforza for Donald Sutherland)
\nHairstyling: Vitaliana Patacca
\nAssistant hairstylists: Gabriella Borzelli, Paolo Borzelli, Vincenzo Cardella
\nSpecial effects: Adriano Pischiutta
\nProducer: Alberto Grimaldi
\nGeneral Organization: Giorgio Morra
\nProduction Manager: Lamberto Pippia
\nProduction assistant: Alessandro von Normann, Mario Di Biase
\nProduction secretary: Titti Pesaro, Luciano Bonomi<\/p>\n

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

Donald Sutherland : Giacomo Casanova
\nTina Aumont : Henriette
\nCicely Browne : the Marquise Durf\u00e9
\nCarmen Scarpitta : Mrs. Charpillon
\nDiane Kourys : Mrs. Charpillon
\nClara Algranti : Marcolina
\nDaniela Gatti : Giselda
\nMargareth Clementi : Sister Magdalena
\nMario Cencelli : Dr. Mobius the entomologist
\nSilvana Fusacchia : another daughter of the entomologist
\nChesty Morgan : Barberina
\nAdele Angela Lojodice : the mechanical doll
\nSandra Elanie Allen : the giantess
\nClarissa Mary\u00e8 Roll : Annamaria
\nAlessandra Belloni : the princess
\nMarika Rivera : Astrodi
\nAngelica Hansen : hunchback actress
\nMarjorie Belle : countess of Waldestein
\nMarie Marquet : the mother of Casaova
\nDaniel Emilfork-Berestein : Du Bois
\nLuigi Zerbinati : the Pope<\/p>\n

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

1976
\nOscar for best costume design
\n1977
\nSilver Ribbon for best cinematography
\n1976-1977
\nSilver Ribbon for best set design
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\nSilver Ribbon for best costumes
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\nDavid di Donatello for best music
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\nOscar nomination for best non-original screenplay
\nBAFTA Award (British Academy of Film and Television Arts) for best set design
\nBAFTA Award (British Academy of Film and Television Arts) for best costume design
\nBAFTA (British Academy of Film and Television Arts Awards) nomination for best cinematography<\/p>\n

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

“At first I had thought of casting Gian Maria Volont\u00e9 in the role of Casanova. It would have been beneficial to the Italian actor, after so many tormented figures who had made humanity leap forward, to play a character destined, by contrast, to make it leap backward, but successive postponements had led to a breakdown of contracts. I had thus entrusted the role of Casanova to Donald Sutherland, a sperm candelon with a masturbator’s eye, as far removed as one could imagine from an adventurer and ladies’ man like Casanova, but a serious, trained, professional actor.”
\n(Fellini. Telling about myself, conversations with Costanzo Costantini, Editori Riuniti, Rome, 1996, p. 138)<\/p>\n

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

Casanova as he was never interested Fellini in the least. What he saw was another of the ghosts, the dreamlike projections, that habitually filled his imagination. Monster among monsters, disturbing larva among the many that crowd his reveries as an artist who grew up amid the religious conditioning of a small Adriatic town and landed in a Rome that always spoke to him especially as the privileged seat of an ecclesiastical society and custom.
\n(Mauro Manciotti, “Il Secolo XIX,” Dec. 22, 1976)<\/p>\n

Casanova is, perhaps, Fellini’s best film since Otto e mezzo, probably the most free from Fellinism, certainly the most unified and compact (and there is little point in arguing whether it was really necessary to reach the 2 hours and 43 minutes in length) for richness and genius of figurative inventions, narrative tightness, wisdom in balancing the horrific with the tender and the fabulous with the ironic, ability to move from the caricatural to the visionary. It has always been one of the peculiarities of his talent, but here, even with some repetition, it is maintained at a high level of homogeneity, resting on a phonic fabric that, in its refined mystilinguism, is as admirable as the stupendous color palette of Rotunno’s photography.
\n(Morando Morandini, “Il Giorno,” Dec. 11, 1976)<\/p>\n

Casanova is not a cinematic novel; it has no logical progression or real narrative links. The connections between the nine or ten chapters are quick and precarious, reminiscent of captions in “comics.” Federico Fellini’s grand circus belongs to the avant-garde, as the American filmmakers of the “underground” have well understood since the days of Eight and a Half. Despite the billions spent lavishly, we are not in the parts of what Flaubert called “industrial art”; we are closer to the monolithic, “privatism” and brazenness of an Andy Warhol. Therefore, the comparison that current events suggest between Barry Lindon and Casanova registers more dissimilarities than convergences. Kubrick takes seriously the nineteenth-century novel and the eighteenth-century setting, the sociological and political connotations of the affair: he has the air of having read and annotated an entire library, of having his own moral judgment about the era and the character. Fellini has flipped through the Casanovian Histoire like the phone book, has on the surface to offer nothing but impressions, resentments, mockery. However… There is a though here, too: if Kubrik’s re-enacted 1700s has its own deep cultural motivations, Fellini’s dreamed-up 1700s has the alarming and mysterious quality of a prophetic vision. Perhaps Jung would have said that Il Casanova is a prophecy about the past.
\n(Tullio Kezich, “La Repubblica,” Dec. 11, 1976)<\/p>\n

Rich, multifaceted, varied in tone, perhaps not immune to some slackening of rhythm, Il Casanova imposes itself on our admiration especially in the parts in which its protagonist, as he grows older, acquires a humanity that was previously avariciously denied him, and thus engages us.
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