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Italian theatrical release poster
|Directed by||Federico Fellini|
|Produced by||Alberto Grimaldi|
|Screenplay by||Federico Fellini
|Based on||Histoire de ma vie
by Giacomo Casanova
|Music by||Nino Rota|
|Edited by||Ruggero Mastroianni|
|Distributed by||Universal Studios|
The film portrays Casanova's life as a freakish journey into sexual abandonment. Any meaningful emotion or sensuality is eclipsed by increasingly strange situations. The narrative presents Casanova's adventures in a detached, methodical fashion, as the respect he yearns for is constantly undermined by more basic urges.
The film opens with a carnival in Venice as a prelude to a series of erotic encounters that follow Giacomo Casanova through the cities of 18th century Europe. It is during this festival that a gigantic bust fails to rise from the water, which is taken as a bad omen. Casanova is then introduced as he defiles a fake nun for the pleasure of a rich voyeur; Casanova succeeds in entertaining him, but he is frustrated that the man finds no interest in his alchemical research and further scheming. As he rows back to mainland, Casanova is arrested, judged and imprisoned by the High Court over his famed debauchery.
During his time in prison, Casanova reminisces of his affair with a seamstress and later on one of her servants, Anna Maria, who is bound by frequent fainting and requires constant bloodletting. He eventually consummates his desire to be with Anna Maria. Back in prison, Casanova escapes through the rooftops and exiles himself from Venice, being taken into the Paris court of the Madame d'Urfé. The Madame, an aged woman, enthralled by Casanova's apparent knowledge of alchemy, wishes to transform her soul into a man's through ritualistic intercourse with him (an act that requires the presence of a younger woman in the room, so that Casanova can get aroused). Casanova then moves to the court of a hunchback, Du Bois, in between taking charge of a beautiful girl—"the love of [his] life"—Henriette. Du Bois puts on a homosexual performance for his guests that unsettles some of his guests and Casanova is brought to tears as Henriette plays some music. The lovers vow fidelity to each other, but the following morning Henriette has disappeared. Du Bois informs Casanova that an emissary of a far-away court has reclaimed Henriette, and she's left her bidding that Casanova not attempt following her.
While in London, an aged Casanova is robbed by two women and he attempts suicide by drowning himself in the Thames. A vision of a giantess and two dwarves distracts him, and he follows them to a Frost fair, where he arm-wrestles the giantess—a princess—and later pays to watch her bathe with the dwarves. Casanova resumes his travelling the following day. He frequents a deranged party at Lord Talou's in Rome, where he wins a bet with a stagecoach driver, Righetto, over how many orgasms he can have in one hour. The competition brings him higher acclaim. In Switzerland he falls in love with an alchemist's daughter, Isabella, who fails to keep up with an appointment to go to Dresden with him; Casanova instead partakes in an orgy within the hostel he's been stranded. He has a brief, chance encounter with his estranged mother in a theater. He then moves to a court in Württemberg, where his desire to be taken seriously as a writer/inventor is frustrated by the court's orgiastic, wild nature. It is here that he meets Rosalba, a mechanical doll with whom he shares a dance and later on goes to bed with.
Times goes by and an old Casanova finds himself librarian to Count Waldstein at his castle in Dux. Life at the castle is more than frustrating for Casanova, as he is made to eat with other servants and does not get the respect nor the food he claims to deserve. Waldstein's manservant, Faulkircher, and his lover Vidarol, make him object of mockery and animosity. A portrait of him is hanged and defecated on. Later on, during a fervent poetry recital, a court member fails to suppress a giggle at Casanova, who, humiliated and disappointed, goes back up to his room. The final scene has a weary, bloodshot Casanova cringing in an armchair and recounting a recent dream. In this dream, Casanova is back in Venice. He catches a glimpse of the giant bust seen in the beginning of the film, buried under thick layers of ice in the lagoon. He chases the ghosts of his past lovers, all of whom disappear. An ornate stagecoach beckons him to join its passengers. He finally meets with Rosalba, the mechanical doll, once again. They quietly dance with each other.
- Donald Sutherland as Giacomo Casanova
- Tina Aumont as Henriette
- Cicely Browne as Marquise Durfé
- Carmen Scarpitta as Madame Charpillon
- Clara Algranti as Marcolina
- Daniela Gatti as Giselda
- Margareth Clementi as Sister Maddalena
- Mario Cencelli as Dr. Mobius
- Olimpia Carlisi as Isabella's sister
- Silvana Fusacchia as Isabella
- Chesty Morgan as Barberina
- Leda Lojodice as Rosalba the Mechanical doll
- Sandra Elaine Allen as Angelina the Giantess
- Marika Rivera as Astrodi
- Diane Kurys as Madame Charpillon's daughter
Producer Dino De Laurentiis saw Robert Redford in the role of Casanova but Fellini refused to cast him. Jack Nicholson, Marcello Mastroianni, Alberto Sordi and Gian Maria Volontè were also considered for the role. When De Laurentiis bowed out of the project and Fellini signed a new contract with producer Alberto Grimaldi, Donald Sutherland was cast in the role, requiring that he shave his head and wear both prosthetic nose and chin.
Fellini had to re-shoot parts of this movie, including the elaborate Venice carnival scene, when approximately seventy reels of film—including the first three weeks of shooting—were stolen at the Technicolor labs of Tiburtino, Rome, on August 27, 1975. The thieves were apparently interested in Pasolini's Salò, or the 120 Days of Sodom (1975), and some reels of this film were also stolen, along with half of Damiano Damiani's spaghetti western A Genius, Two Partners and a Dupe (1975).
Music was composed by Nino Rota, a frequent Fellini collaborator.
By using a range of visual effects, Fellini attempted to depict Casanova as a debauched figure incapable of displaying any genuine emotion. This Felliniesque style is most noticeable in Sutherland’s acting and appearance, which was made overtly graphic at the director's request. Other unusual techniques include a scene where Sutherland rows across a stormy sea made from black plastic sheets.
Fellini’s dislike of the character was well documented, and in one interview he even referred to exposing "the void" of Casanova's life. Consequently, Fellini’s interpretation goes against the traditional notion of Casanova as an enlightened gadabout. The original script was very brutal on the historical figure. It wasn't until Fellini shot the scene of Casanova and the nun that he began to sympathize with Casanova's inability to love, giving him the character of the mechanical doll and the dream ending.
Awards and nominations
1977 Academy Award, United States
- Winner - Best Costume Design (Danilo Donati)
- Nominated - Screenplay Based on Material from Another Medium (Federico Fellini, Bernardino Zapponi)
1977 David di Donatello Awards, Italy
- Winner - Best Music (Nino Rota)
- Winner - Best Costume Design (Danilo Donati)
- Winner - Best Production Design/Art Direction (Danilo Donati, Federico Fellini)
- Nominated - Best Cinematography (Giuseppe Rotunno)
In popular culture
- Some parts of the soundtrack, composed by Nino Rota, are featured in the videogame Red Dead Revolver and the 2007 film I'm Not There.
- Carnival of Venice
- Giacomo Casanova
- Cinema of Italy
- Federico Fellini
- Histoire de ma vie, Casanova's autobiography
- Alpert, Hollis (1988). Fellini: A Life. New York: Paragon House. p. 245. ISBN 1-55778-000-5.
- Kezich, Tullio (2009). Federico Fellini - Il libro dei film. Milan: Rizzoli. p. 233. ISBN 978-8-817-03282-7.
- Kezich, Tullio (2006). Federico Fellini: His Life and Work. New York: Faber and Faber. p. 323. ISBN 978-0-571-21168-5.
- Bondanella, Peter, ed. (1978). "Casanova: An Interview with Aldo Tassone". Essays in Criticism: Federico Fellini. Oxford: Oxford University Press. p. 29. ISBN 0-19-502273-4.