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To see what your friends thought of this book, please sign up. To ask other readers questions about Casanova , please sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. To nie jest biografia Casanovy. Taki kolokwializm "Nevermind". View 1 comment. Apr 27, Riley rated it it was ok. I think there may be such a thing as over-quoting. The bulk of the information comes directly from Casanova's autobiography, and I would've preferred more input from those around him instead of taking his word for everything.

Finishing this was a chore. In the future, I will never refer to someone as a Casanova in a complimentary fashion.


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Dude was a predator, and while there's always the argument of "He was a man of his time, you can't judge him by today's standards! You read it here first. Nov 17, Gerard Villegas rated it it was amazing Shelves: abortion , abuse , action , addiction , celebrity , biology , children , controversial , crime , cultural. Poet, writer, free spirit, gambler, lover, and seducer. These are words that are synonymous with the legendary Libertine Giacomo Casanova. However, we should add a couple others as well. Pervert, pedophile, lech, cad, player, and a walking STD. Despite all the notoriety and infamy surrounding this mythical lover, he was far from perfect.

Author Laurence Bergreen shares historical documents and excerpts from Casanova's personal diaries to tell the story of a worldly scholar who enjoyed life, espec Poet, writer, free spirit, gambler, lover, and seducer. Author Laurence Bergreen shares historical documents and excerpts from Casanova's personal diaries to tell the story of a worldly scholar who enjoyed life, especially when it concerned the ladies and, allegedly, a few men as well. Beginning as the abandon child of two theater performers, Giacomo Casanova raised himself in a world where money, power, and sex played a game into his successful career as a lover of life all over Europe.

His quick wit, charisma, sex appeal and ability to ingrain himself into European high society bestowed upon him all the notoriety that he is now known for. Casanova is an informative and fascinating portrait of a man who was addicted to sex and used his body to fulfill some kind of abandonment issues. I highly recommend this for observing a psychological study of sex addiction and drawing upon your own conclusions of someone who might have been a legendary lover but had many demons.

Bergreen does a wonderful job of explaining and describing Casanova's life. As expected, much of it is erotic. Some may be triggered by descriptions of his wooing and deflowering several young girls. I'm merely skeptical about their enthusiasm when he finally does reach his goal. Of course, once the prize is gained the thrill of the hunt is gone and he moves on to someone or somewhere else.

He sleeps with everyone from common prostitutes to aristocrats yet still remains surprised every time he g Bergreen does a wonderful job of explaining and describing Casanova's life. He sleeps with everyone from common prostitutes to aristocrats yet still remains surprised every time he gets a venereal disease. He's good about abstaining during his treatment, but he's back in the game the instant it's gone. There's also plenty of broken hearts in convents, with his children, etc. Sexcapades aside, Casanova led a very successful life. He was born in Venice to an actress who abandoned him at a young age.


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So, he assumed new identities whenever he needed to. In France he brought the lottery from Venice to start a national lottery that would fund the monarchy instead of taxes. He also helped compose the opera Don Giovanni. He loved Catherine the Great. Finally, he became a private librarian and devoted his old age to writing his memoirs.

I loved Bergreen's biography, but he uses lots of obscure words. I like it because I get to learn new ones. He also goes to great pains to explain and describe Venetian culture, which is very unique. Apr 11, William DuFour rated it liked it Shelves: biography. An interesting, complex and intriguing man of his era also tells insights on how the government worked back in the 18th century in Italy. Nov 25, Bill Wallace rated it liked it. I was hoping for a book that set Casanova's remarkable life in the context of his times and this volume does that to a point, but it's mostly a labored retelling of the Memoirs with a focus on the most salacious of the man's conquests and orgies.

Giacomo was a scoundrel in the truest sense of the word and some of his actions were appalling. When one reads the Memoirs, the sense of disturbance is tempered by the humanity of the teller -- a rusted rake who has lived long enough to acquire some sen I was hoping for a book that set Casanova's remarkable life in the context of his times and this volume does that to a point, but it's mostly a labored retelling of the Memoirs with a focus on the most salacious of the man's conquests and orgies.

When one reads the Memoirs, the sense of disturbance is tempered by the humanity of the teller -- a rusted rake who has lived long enough to acquire some sense of philosophical reflection if not an actual sense of guilt. Recounted here, albeit with whole pages of quotations, the scamming, seduction, and rape are harrowing. I was also hoping for more of a focus on Casanova's "occult" practices, mostly used to pry money out of the fingers of gullible believers but occasionally a true glimpse into the mostly shrouded world of 18th Century kabbalists and magicians.

The book addresses this aspect the rogue's adventures but doesn't provide significantly more insight than the Memoirs themselves. I did enjoy the side notes on Venetian culture and, especially in the later chapters, the insight into Casanova's declining years as Europe begins to throw off the chains of monarchy, to the horror of the man who had lived on the excesses of the dying era.

The numerous illustrations are great, portraits of the people Casanova writes about and examples of the erotic art he used to catch the interest of his conquests. On the whole, I enjoyed this book and had no trouble finishing it but I think a reader who had never read the Memoirs would find it more entertaining than I did, and that reader would probably be better served by a good annotated edition of the source material.

Mar 10, James rated it it was ok. Basically an author recounting the memoirs of Giacomo Casanova, the famed or infamous seducer of women during the s in Venice, Paris, London, Austria, practically everywhere Casanova is highly unlikeable and a sociopath and a liar. This is an endless tiring history that is just one s Basically an author recounting the memoirs of Giacomo Casanova, the famed or infamous seducer of women during the s in Venice, Paris, London, Austria, practically everywhere This is an endless tiring history that is just one sexual exploit after another and no woman was safe no matter the age.

Casanova liked them young, but if he thought he could something from a rich older woman, then He even dabbled slightly in homosexuality and found castratos young men who were tempered in the groin area by surgery in order for them to sing in a high voice quite appealing. Venereal disease? He gets it time and time again and goes through tedious medical procedures by quack physicians. He is imprisoned and escapes and fights duels and gambles. He insinuates himself into royal palace employ.

But, he basically has sex. Over and over again in any way you can imagine and with as many people as possible. If Casanova was alive today, he's be the ultimate target of the MeToo Movement. He would make any story of any celebrity or workplace sexual abuser pale in comparison. In fact, that was the phrase I had in my mind after finally finishing this well researched, beautifully illustrated, but exhausting boring read. Jun 03, Kim rated it it was ok Shelves: history-european. Based, it would seem, entirely on Casanova's own exploits of his life and featuring little, if any, outsider research to the libertine's actual life.

Everything is seen through Casanova's eyes, which, as much as I tried to put aside my modern perspective - he's not a very sympathetic character, he's not endearing, and honestly, not what I'd call a reliable narrator by any means. Bergreen does mention Casanova's more academic pursuits, but more time is given to his love affairs - and even then, t Based, it would seem, entirely on Casanova's own exploits of his life and featuring little, if any, outsider research to the libertine's actual life. Bergreen does mention Casanova's more academic pursuits, but more time is given to his love affairs - and even then, the attention paid to them is what I'd almost want to call "fleeting.

There are probably better biographies of Casanova out there, or you might be interested enough in slogging through the God knows how many volumes of his autobiography, but I think for the time being, I'm quite done with this libertine. Nov 26, Jennifer rated it liked it Shelves: books-i-own , first-reads , biography-memoir , france , italy , the-famous. Received through FirstReads I'm kind of conflicted about this book, which is why I only gave it three stars. It's a very enjoyable book, fascinating, never dull.

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But I often felt like I was reading a very condensed version of Casanova's memoirs, as they are quoted in nearly every paragraph. Still a good read, though. Aug 21, Jade Schulz rated it did not like it. Didn't finish the slop. I really tried my best but it's really a crappy cut and paste job of Casanova's diary. The chapter breakdown doesn't really make sense either. Try his Magellan book. It was much better. Nov 01, Susan Shapiro rated it it was amazing. Fascinating, funny, sexy, revealing biography. Couldn't put it down. Jun 09, Dexter rated it liked it Shelves: nonfiction , history , biography , romance.

Geez it has taken me about fifteen thousand years to get through this thing. Casanova was an interesting dude who did a lot of very interesting and sometimes brilliant things. He also seemed to have an uncanny ability to seduce women and make them believe he would marry them, but then he'd run away. He also sexually assaulted half of them in the first place. I can't get over that one. No matter what else Casanova did in his life, no matter how great and amaz Geez it has taken me about fifteen thousand years to get through this thing. No matter what else Casanova did in his life, no matter how great and amazing and intelligent he was It's still a very thorough biography that includes plenty of context and information on everything going on in the world during Casanova's lifetime.

Mar 18, Melissa rated it it was ok Shelves: historical-fiction , biography. I must give the man credit. He has real charm and charisma: his words are enough to bring a modern woman to an incredible orgasm so many hundreds of years after his death. Now that, my friends, is seductive genius!! Autonome 9 August One of Fellini's more coherent and conventional films.

Though I could hardly bear Satyricon, I consider "Casanova" one of the best films of all time. The surreal nightmare world of Casanova's lost wanderings of the obscure cities of 15th century Europe comes alive and his willing enslavement to his own lust given free reign, in sex scenes which are only disturbing, could leave you wondering if you would be any different given the same freedoms. A frightening but hauntingly beautiful and poetic film. Fellini's lush cinematography was never better.

The best role of Donald Sutherland's career- his performance is simply amazing. A beautiful and melancholic film. I've seen it only now, in a special exhibition on cinema, for the first time. Worth the while. Funny, I also used to prefer the earliest Fellini, but this film makes me, at least in this case, rethink my position. Cabiria and go more or less in order, it will probably make more sense. Or not. He loved the ladies. His life was a collection of sexual escapades that whilst initially fulfilling left him feeling empty and bereft as an individual.

Acclaimed director Federico Fellini's film follows Casanova through his various adventures in 18th century Europe. We first meet the charlatan as he entertains an unseen voyeur by defiling a fake nun. Once the act has reached its climax Casanova does his utmost to impress the rich, and still unseen, voyeur by recounting his interest in alchemical research. He soon realises that he is talking to himself, literally, and leaves. Upon arriving back on the mainland he is arrested and imprisoned for his catalogue of debauchery.

He soon escapes and travels around Europe. From an aged woman looking to have her soul transformed into that of a man, through sex to Casanova, to cuddling up with a mechanical woman Fellini's Casanova is episodic and surreal. This is cinema as art rather than entertainment but that's not to say that Casanova fails to entertain within its artistic confines. Touching upon religion, death, spiritualism, and intellectualism and, of course, sexuality Fellini drew upon the aspects of Italian society that both appalled and intrigued him with little regard to historical accuracy.

Director Federico Fellini's Casanova is an exquisite feast for the senses that threatens to become more style than substance if it wasn't for the hugely charismatic performance of Donald Sutherland. Adapted from the autobiography of Giacomo Casanova, the 18th Century adventurer and writer Fellini's masterpiece is by turns dazzling, funny and bewitching.

Little touches such as the turbulent sea Casanova rows upon made up of black plastic sheets add to what Fellini felt was the plasticity of Casanova's life. Original producer Dino De Laurentiis had Robert Redford in mind for the lead, but then more often than not, De Lauentiis was very rarely right in his choices one only has to look at his career CV as a producer to see what we mean. Fellini refused the notion of Redford as his film's lead and, after breaking from De Laurentiis as producer Fellini, cast Donald Sutherland instead, having the actor shave the front part of his hair and don a prosthetic nose and chin.

Dreamlike and consistently enthralling Fellini's flick encompasses an individual that the noted director disliked intensely however in shooting his script he found some empathy for his lead character. He amended his initially brutal treatment of Casanova in his script focusing instead on the man's inability to love despite falling in love too easily - the inclusion of the mechanical doll and dream ending were his compensation for this.

Magical and absorbing from start to finish Fellini considered this film to be his masterpiece. He was heartbroken when the film failed to be received critically in the States. This is inconceivable! Each and every frame of the film is abundant in detail and colour, truly ravishing to behold. Fellini regular Nina Rota composed the score that initially grates a little but becomes more haunting and enchanting as the story unfolds.

An embarrassment of riches Fellini's Casanova demands your attention and deserves repeated viewings. In case you've missed it, we really liked it. Check out more of my reviews at www. This is actually my very favorite movie of all time. And that is odd as I distinctly was disappointed with it when I first saw it.

But it has grown on me over the years. Don't see this movie thinking you'll have lightweight porn from the Ancien Regime era. This is anti porn; Casanova's amours fill Fellini with disgust and contempt as do his intellectual pretensions. I've read that the entire movie is a condemnation of the Enlightenment which Fellini depicts as a fiasco.

Casanova's tireless travels also serve Fellini well as a stage for his Italocentric racism. Every race in Europe is heavily lampooned; Hungarians,the Spanish, the French, the English, and most contemptible of all, the Germans. Distinctions are even drawn clearly between the racial and cultural differences between Venetians and Romans and Savoyards This is Fellini's last great movie. After this he seemed to get so disgusted with the modern world that he withdrew intellectually; you see this a lot in older men. They turn away then they get out of touch. They're all terrible, very sad to see the decrepitude of a great talent.

But in Casanova we can see the great man at the very pinnacle of his powers. And even the the utmost squalour there are great beauties here to admire, for Fellini loves the visual world and expresses it in film with the most original cinematography and the most wonderful stage sets. If you can find it on DVD letterbox format don't miss buying it. IlyaMauter 24 April Co-written by Fellini himself like probably all of his other movies, this one enjoys a pretty good, witty script, that was even Oscar nominated.

Highly recommendable. AaronRichmond 27 December Fellini's Casanova might not make complete sense. In fact, I'm not sure if it does: constantly I am asking myself what he is trying to display with some of the butchered dialogue and strange, often comical situations.

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But in the end, none of that matters. Like all Fellini films, Casanova is a long, filmic journey that seems to drag, lacking any real drive; but, isn't that the point? Casanova himself is a selfish playboy who has no idea where he is going, and ultimately fails in any goals he might have besides a sex-contest. The film opens with a masquerade in Venice, where even the crowned woman herself, the queen, cannot make an appearance for the Casanova.

Casanova: The World of a Seductive Genius

The masked guests are crazed with excitement as a man is launched into the sea I presume he drowns in the sea of women. Already we can feel the morality of a great Italian society plummeting. This theme is very well presented throughout the film. The best example could be the nun who gives a show to her boss along with Casanova equipt with his "supercock" music box, whose off-key tunes and obvious display of sexual arousal is disturbing. Continually, Admist an abandon opera house, a beautiful scene of Casanova's inadequacy with his own mother is presented as he carries her over his back.

What were you saying? Throughout Casanova's travels, he admires certain qualities in the many women he thinks he loves: Henriette, Anna Maria, Isabella. Each of them embody the perfect woman, at least, at the time. It is not until much later in the film when he finally finds the woman of his dreams: a plastic, mechanical doll. The effect is jarring, chilling, and genius. But no matter who the woman was, his "love" always resorted in sex, both times, the women being completely out of it, and unconscious for the experience. It opens with Sutherland, a much older loner whose selfishness has for once caught up with him, dwelling on a dream he had.

As a younger Casanova walks along a path of blue ice complimenting his ice-like eyes , he chases the slowly dissolving image of the women he thought to love. As soon as he sees the mechanical doll, he embraces her, and leads her in a dance. The two spin on the ice, while Casanova himself resembles that of the plastic doll, his own superficial sexuality externalized.

Fellini's cinematic vitality was undeniably on the ebb in his later years of filmmaking, and when a director's name can blatantly headline in the film's title, a common demonstration is that he has the autocratic power over his work without any compromise, so it is a good sign for the director's devotees, but sometimes, it is also prone to backfire often due to the auteur's unbridled ego.

Fellini is quite antipathetic towards his center figure, the Venetian gadabout Giacomo Casanova, maybe partly originates from jealousy, it is a man who is an emblem of libidinal licentiousness with women , any heterosexual man has the right to be envious. The opening gambit, a Carnival in Venice, is onerously undertook to be stupendous and eye-opening, and it is really hard to resist the enthralling allure in Casanova's each and every episode, sex activity is presumably the norm in it, but his on-screen virility brings some visual fatigue pretty soon due to an R rating and his action fades into mechanical repetition certainly, the change of head-wear is a great diversion.

After all, the avant-garde production design using plastic bags to imitate a choppy sea , the 18th Century exquisite art decoration whether accurate or not , the outlandish period costumes and flamboyant make-up especially during the lavish banquet set usurp the crown as the legitimate attention-grabber. With garnishment like Nino Rota's stirring score and literature reference such as Tonino Guerra's La Grande Mouna, 2 hour and 35 minutes is not that long at all.

It is also a career-defining role for Donald Sutherland, although never really being heralded so does his lengthy and unceasing career , under some visage alteration a fake nose and a shaved head his Casanova is not devilishly handsome, may not even physically resemble his character, but he exerts his devotion thoroughly through his bulged eyes, which fixate on his preys with torrid resolution, simultaneously sinister and passionate. Fellini is in no mood to give Casanova a hagiography treatment, so chiefly, Sutherland's effort has been unfairly debased to ridicule and grandstanding, Casanova is much more than a womanizer who is unable to love, willfully, Fellini refuses to disclose the other side of his life, such as a bold adventurer and a luminous writer.

Female objects are never the focal point of the film, they are the objects of desire in the menagerie for our hormone-driven protagonist to conquer with intercourse, only the Angelina the giantess Sandra Elaine Allen and Rosalba the mechanical doll Leda Lojodice shed dim light on certain pathos for the fate of Casanova besides their eye-popping presence.

In a way this is the disaster Fellini has been working towards all his life. The line between absurd masterpiece and free association bullshit is very small, and what category a film will ultimately fit in will often just depend on personal feelings. That said, "Casanova" left me in cold admiration for its sets and little more that cannot be summed up more adequately by Bukowski: "Casanova died too, just an old guy with a big cock and a long tongue and no guts at all.

Casanova's environment is made from decay and incestuous behavior, themes Fellini dealt with more pointedly in "Satyricon". The succession of plot is characteristic of soft porn, just without the coherence; and Donald Sutherland is ugly and slimy to the point of distraction. Yet, there might just be a point in portraying Casanova as an unsightly fool.

And I challenge anybody to formulate this point without being obvious; Fellini couldn't. More than ever he seems here like a dirty old man - a maestro, for sure, but one whose impulses satisfy himself more than anybody else. I find it hard imagine an audience who enjoys this film. It was a story not worth telling. If you have ever found yourself watching a movie like Emmanuelle and thinking: "This would be great if it were an 18th century costume drama with less nudity and enough nightmarish surrealism to make even David Lynch weep for mercy," then this is the movie for you.

Donald Sutherland plays the infamous Count Fucula, a man who tries to have sex with everything he sees that resembles a female, and whose sexual technique generally consists of laying on top of a woman and bouncing up and down on her like he's humping a trampoline - and all without ever even taking off his pants! Short girls, tall girls, blonde girls, brunettes, girls with hunchbacks, female robots.. At one point, I thought he was going to try to make it with a giant turtle.

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A missed opportunity, if you ask me. Until now, I thought Satyricon was the weirdest Fellini ever got, but this one makes it look square in comparison. Casanova was born in Venice years ago in and he died 73 years later in having witnessed the fall of the Age of Decadence and the transformation brought by the French Revolution.

That his name is synonymous to this day with the successful pursuit of sexual conquest is due to the fact that Casanova was a great writer who recorded his life in a 12 volume opus titled "The Story of my Life". This episodic work of literature apparently describes in detail Casanova's amorous victories on the sexual battlefield claiming and describing the seduction of at least different woman. Fellini, the year after Pasolini made his illustration of De Sade's literary perversity in Salo, brought this illustration of some of the episodes of Casanova's sexual exploits.

The masking of the revellers was an encouragement for the participants to ignore class differences and thus increase the scope of orgiastic interaction sponsored by the patron goddess of Love, Venus, A masked man receives a letter proposing an assignation on an island palace with a woman masquerading as a nun, Casanova, revealed to us as a Dandy in extravagant attire of opulent and decadent fashion. As this is a cinematic examination of the life and technique of one of the most outrageous ladies man in modern history, the viewer is immediately introduced to Giacomo's modus operandi or seduction formulae.

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Casanova is not a bully but is much more adept at exploiting female gullibility with poetic declarations of deep and undying love which he combined with his peacockish appearance and intimate confessions of ardent desire and you have the story of his life in a nutshell, Other attributes that also helped garner his reputation was the reputed size of his penetrative organ and the athleticism of his ability to maintain sexual intercourse for long extended periods with an economy of repeated but unvaried thrusts leading eventually to orgasm.

This delaying technique similar to "karezza" and tantric practices helped spread the name of Casanova as the ultimate stud of all time. Apart from his reputation as a sexual libertine Casanova was eloquent and funny. The ability to make people laugh has always had aphrodisiac stimulation. After the conquest of the pseudo-nun Casanova has success with a neurotic young girl whom he cures from constantly fainting with a dose of sex magic. Casanova had performance problems with her as she was an ancient wrinkly and his ability to raise an erection had to be assisted by one of his lovers who had to amusedly stand by his side and wiggle her rear in order to facilitate his potency.

It worked and Casanova made off with one of the many fortunes he made and lost during a life of spontaneous and opportunistic self-invention. Among the most memorable set pieces that Fellini orchestrates is a wonderful dance in exquisite costume at the dinner provided by the hunchback and a young male ballerina. The costumes throughout the movie are fantastic. After the dance Casanova voices his disagreement with the notion that the male is the tempter.

She managed to bring some sense of emotional loss which went beyond Casanova's usual rhetorical protestations of besotted love. The Nino Roti score of sad music box lament and Casanova's most prized possession - his phallic winged mechanical toy which like a metronome allowed Casanova to keep a steady thrust. Apart from overwhelming woman with the false flattery of his supposed personal interest Casanova also reveals in the sex competition at the Prince Del Brand's Palace that he has an energy drink containing raw eggs and ginger and cinnamon, which he uses to keep his erection for up to an hour.

What happens to the ageing Casanova hundreds of years before the coming of Viagra? In Freud's theory the sexual energy with no capacity for expression becomes channeled to more productive outlets. In Casanova's case his last 12 years were spent writing and revising his major work "The Story of my Life" Fellini chose to give the mood of the movie a certain disappointment as if Casanova was never satisfied and always a depressive in nature, but this does not make sense, as it stands to reason that as a young man part of Casanova's attraction was as a bon vivant, raucous, bawdy, randy and full of life.

However the movie is styled as Fellini's Casanova and the odyssey it depicts - the life of Casanova - has been described as the greatest autobiography ever written. That such a man existed is historical proof that some men are closer to the gods than anyone else. However, Bunuel on viewing the movie walked out before the end.

I found it interesting as a working study of satyriasis and nymphomania which are fields rarely examined by auteurs. In Fellini's Casanova, the viewer follows the legendary seducer, played by a young Donald Sutherland, jumping through several episodes in his life, in a whirlpool of memories, impressions and sex.

This film is a journey that takes us to a Venetian prison, to French palaces, to a London frost fair and to the Swiss Alps. And the people Casanova meets, from a giant woman to dwarfs, from magicians to artists, are amazing. It's Federico Fellini's vision of Giacomo Casanova's life and it's completely unique.

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The film's themes aren't love or the art of seduction, as the name Casanova tends to evoke, but lust and desire as basic human urges. Fellini didn't like Casanova; for the Italian filmmaker he was just a soulless lover, a greedy social climber interested only in adding points to his score of amorous conquests and serving the nobility.

So viewers will only find a sex machine moving from coitus to coitus, with little concern for the women he beds. The narrative, like in many of this director's films, is fragmentary, and Fellini and his co-screenwriter, Bernardino Zapponi, freely adapted Casanova's autobiography. Of course in a Fellini film the narrative isn't as important as the visuals and the way each scene is constructed.

Visually, this is a beautiful movie. It's not only a masterful achievement by costume designer Danilo Donati, who deservedly won an Oscar for his work here; it's also unique because of the stylistic choices Fellini employs. For instance, for a scene of Casanova rowing in a little boat in the middle of a sea storm, Fellini chose to use black plastic sheets to replace the water; this choice may seem meaningless until we realize that artifice, appearances and illusions are running themes.

Another interesting stylistic choice is the way Fellini shoots exterior scenes. Usually landscapes are covered in mist or snow, the sun barely visible. Our vision is limited to the foreground while the horizon remains hazy. By contrast, the interior scenes, the magnificent ballrooms, gardens and bed-chambers, where most of the action takes place, are exuberant, a sensory overload of colors, sounds, shapes and movements.

Donald Sutherland, one of the most underrated living actors, shines as Casanova. He is practically unrecognizable here: with his hair cut, wearing a prosthetic chin and nose, and covered in make-up, Sutherland displays a strange, androgynous look. He's also, apart from the women he seduces, the only handsome person in the film. Fellini must have handpicked the ugliest actors in the world to populate this film, who, with their rotten and missing teeth, wrinkled faces and long, sharp noses, are in total opposition to the beautiful world that surrounds them.

The action takes place during the Enlightenment, but reason doesn't make an appearance here. What for some was one of the greatest eras of human achievement, for Fellini was an era of debauchery, aloofness and superstition. Suffice to say that an aristocratic woman asks Casanova to impregnate her so she can pass her soul, through a ridiculous pagan ritual, to the fetus. Casanova and his contemporaries are vapid people who believe they're exceptional. Only Casanova, gradually, loses his illusions and the ending is a moment of epiphany for the seducer who, aged, only has his memories to keep him company.

There's a small caveat: Donald Sutherland's voice was originally dubbed by Italian actor Gigi Proietti, so his fans may want to look for a version that has the English audio. I wouldn't consider this a major loss, since this is one of those films where the dialogue is practically irrelevant. Sutherland's body language expresses a lot more than the platitudes his character tends to spout.

But viewers used to actors' original voices may find this off-putting. Fellini's Casanova is long and requires more patience than attention. The narrative's aimlessness may quickly induce boredom if the viewer isn't used to Fellini's style. Fellini makes up for this by giving every sequence some humour and titillation the sex scenes may not be the best but are certainly the funniest ever filmed for cinema. In this regard this movie is very similar to Amarcord, which also seems like an endless collection of unrelated gags.

JasparLamarCrabb 21 May Probably Fellini's last real masterwork. Somehow that works! It may have to do with the fact that the film is so stylized. Its studio sets and intentionally fake scenery and grotesquely opulent costumes make it possible to ignore the fact that Sutherland looks like a plucked chicken. Fellini's direction is among his most spirited The sex scenes are comically overdone and the women Casanova beds are a rogues gallery of ghouls young, old and mechanical! Tina Aumont is, for all intent and purposes, the film's leading lady and she even she is off center And that's what I love about it, it's the true story of Casanova, an Rebellious Italian man who using his sexuality to find his place in life, the film does not contain LOADS of nudity, just many aspects of it.

The film contains two midgets with a fat woman in a bathtub, a group sex involving many women in a revolving room, and silly make-up. It is truly a misunderstood and dark film; I couldn't recommend it more. I wish people would pay more attention to this film, for it is truly a masterpiece. It is a forgien film, yet you can understand with only the magnicent moving images throughout the cinematic mystery. It's certainly important to note that Fellini thought that the historical Casanova was a scumbag, a crook even a fascist.

In his film, the character appears as a scatterbrained, melancholic, mechanical tragic figure: like a marionette, a Pinocchio who never turned into a human. The story starts in Venice, Casanova's home town, with a Fellinesque carnival scene, where a statue of Venus is pulled out of the canal.

This effigy with its protuberant, blue eyes is an equally powerful initial motif like the Christ figure in La dolce vita. And there we have the comparison: both films show similar dreary worlds of vices. Like Marcello, Casanova strays from one orgy to the next, screws around randomly.