Caligola
Rendező:
Tinto BrassForgatókönyvíró:
Gore VidalOperatőr:
Silvano IppolitiSzereplők:
Malcolm McDowell, Teresa Ann Savoy, Helen Mirren, Peter O'Toole, John Gielgud, Guido Mannari, John Steiner, Paolo Bonacelli, Giancarlo Badessi (több)Tartalmak(1)
A Roman orgy of sex, violence and depravity! In the dying days of Empire, Ancient Rome falls under the rule of Caligula, the most evil and perverse emperor ever to wield power over men. Director and softcore legend Tinto Brass and Penthouse publisher Bob Guccione team up to craft the most expensive, excessive erotic production ever filmed. Emperor Caligula is an incestuous, psychopathic despot, hell bent on bloodshed and sodomy in this orgiastic fever dream that plays like a Fellini movie with money shots. Watch with ever increasing shock and awe as Caligula, the twisted dictator brings an empire, and the women of Rome, to their knees, in an explosion of lust, lesbianism, torture and bloodshed. (Arrow Films)
(több)Recenziók (5)
Caligula is a profligately perverse and operatically opulent work not only in the sense of what was finally shown on the screen, but also in terms of the production concept and the collision of the multiple obstinate visions of the pompous egomaniacs who came together for this project. Caligula allegedly exists in multiple versions and I am personally of the opinion that in order to fully appreciate all aspects of this work, it is necessary to experience the longest version available, with a 156-minute runtime. Of course, it is bastardised and vulgar and disregards Tinto Brass’s putative creative intent in favour of the unhinged irrationality of Penthouse founder Bob Guccione, who served as the film’s producer. But that is exactly what Caligula is supposed to be, an ostentatious megalomaniacal vision of ostentatious megalomania, the corrosion of judgment in a position of absolute power and unquestioned authority. One could just as well be amazed at the delirious blending of the aesthetics of modern opera with Brass’s promiscuity and Penthouse’s boudoir pseudo-eroticism. The sets combine cheap spectacle with design exuberance, where living statues of penetrating performers become part of the scenery, with acting greats pompously declaiming around them. Caligula is simply a manifestation of the impertinence of Guccione’s ambition to make an epic adult film, for which he fittingly chose the equally pompous swine Vidal and Brass. But despite the arrogant declarations of these two men, the film remains Guccione’s project, thanks to which it comes across as so uniquely unhinged. ___ It’s cute that Thomas Negovan, as an obstinate fan, peculiarly convinced of the correctness of his view, embarked on Caligula – The Ultimate Cut (formerly also Caligula: Orgy of Power). Emboldened by the idea that he would elevate the ridiculed and maligned work, he set out to improve the sets by means of computer tricks, throw out explicit shots and to mine previously unused material for performances that seem less absurd. He swore that his version would be a Brassian director’s cut based on the last version of the screenplay. Brass was dismissive of the whole project and brought a lawsuit against it. That ultimately means that in this case it isn’t a contribution to the adored category of director’s versions, but we rather find ourselves exclusively in the realm of modding or fan editing, where only die-hard fans refuse to accept a work as it is presented to them. In other words, a fine curiosity, but there forever remains only one Caligula – bastardised, phantasmagorical and irrational, but also fascinating because of that.
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Of all the films that have an aura of unreality, evil, orgies, and forbidden fruit around them and are best seen very early on to maintain the moral education of the youth, only Caligula is a real treasure. The film manages to maintain its fascination for the subject matter, unwaveringly delivering a wonderful combination of the leading actors of its time with professional extras from Penthouse. There has never been a better film of the most glorious era of the first emperors. The young man enjoys himself with his sister Drusilla and flatters his grandfather Tiberius, and it is not long before he becomes Emperor Caligula and his four-year reign full of extremes can begin. Symbolically, Claudius hides in a corner somewhere and the once docile Caesonia becomes the mother of Caligula's family. One of the craziest scenes is the blessing of the newlyweds, which culminates in an imperial brothel with the senators' wives. In between, however, are the loving scenes of Drusilla and Caesonia's reconciliation and the proverbial promotion of the horse to senator. The fantastic art atmosphere works with colorful filters, great music, and wonderful costumes. What a pity that today, for example, Helen Mirren is being appreciated for completely different roles.
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The character of Caligula has immeasurable narrative potential, which this movie successfully and very brutally kills. One look at the cast and the bushes and it’s clear what Brass’s intentions were when shooting the film. A pointless orgy that may boast a certain questionable historical basis, but ultimately it’s almost devoid of any higher meaning. Two stars only for the music, the actors (but for God's sake not the bushes) and for the courage to portray the famous bohemian emperor from a slightly different, maybe more realistic perspective. 45%
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Brass's Caligula is overly pap and theatrical, but quite impressive in its depiction of the utter decline of humanity caused by power.
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The movie is exactly as its reputation suggests. There are pornographic scenes that somehow fit with Rome, but they only serve to unnecessarily lengthen the film, resulting in a rather boring and predictable story. Even without knowledge of history, one can still guess that a person like this simply cannot live for too long. Malcolm McDowell is excellent, but the overall concept is rather hostile and hard to engage the audience.
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