Fellini Satyricon

Last updated

Fellini Satyricon
Fellini Satyricon poster italian.jpg
Italian theatrical release poster
Directed by Federico Fellini
Screenplay byFederico Fellini
Bernardino Zapponi
Brunello Rondi
Charles Wood [1]
Based on Satyricon
by Petronius
Produced by Alberto Grimaldi
Starring
Cinematography Giuseppe Rotunno
Edited by Ruggero Mastroianni
Music by Nino Rota
İlhan Mimaroğlu
Tod Dockstader
Andrew Rudin
Production
company
Distributed by United Artists
Release dates
  • 3 September 1969 (1969-09-03)(Rome premiere)
  • 18 September 1969 (1969-09-18)(Italy)
Running time
129 minutes [2]
CountryItaly
LanguagesItalian
Latin
BudgetUS$3 million [3]
Box office$1.4 million (US/ Canada rentals) [4]
$8 million (outside Italy) [3]

Fellini Satyricon, or simply Satyricon, is a 1969 Italian film written and directed by Federico Fellini and loosely based on Petronius's work Satyricon , written during the reign of Emperor Nero and set in Imperial Rome. The film is divided into nine episodes, following Encolpius (Martin Potter) and his friend Ascyltus (Hiram Keller) as they try to win the heart of a young boy named Gitón within a surreal and dreamlike Roman landscape.

Contents

Fellini Satyricon was entered into the 30th Venice International Film Festival, where it won the Pasinetti Award for Best Italian Film. It received acclaim from international critics, with particular praise toward Fellini's direction and Danilo Donati's vivid production design. The film earned Fellini his third Oscar nomination for Best Director, and the film was nominated for the Golden Globe Award for Best Foreign Language Film.

Plot

The film opens on a graffiti-covered wall with Encolpius lamenting the loss of his lover Gitón to Ascyltus. Vowing to win him back, he learns at the Thermae that Ascyltus sold Gitón to the actor Vernacchio. At the theatre, he discovers Vernacchio and Gitón performing in a lewd play called the "Emperor's Miracle": a slave's hand is axed off and replaced with a gold one. Encolpius storms the stage and reclaims Gitón. On their return to Encolpius's home in the Insula Felicles, a Roman tenement building, they walk through the vast Roman brothel known as the Lupanare, observing numerous sensual scenes. They fall asleep after making love at Encolpius's place. Ascyltus sneaks into the room, waking Encolpius with a whiplash. Since both share the tenement room, Encolpius proposes they divide up their property and separate. Ascyltus mockingly suggests they split Gitón in half. Encolpius is driven to suicidal despair, however, when Gitón decides to leave with Ascyltus. At that moment, an earthquake destroys the tenement.

Encolpius meets the poet Eumolpus at the art museum. The elderly poet blames current corruption on the mania for money and invites his young friend to a banquet held at the villa of Trimalchio, a wealthy freeman, and his wife Fortunata. Eumolpus's declamation of poetry is met with catcalls and thrown food. While Fortunata performs a frantic dance, the bored Trimalchio turns his attention to two very young boys. Scandalized, Fortunata berates her husband, who attacks her then has her covered in gizzards and gravy. Fancying himself a poet, Trimalchio recites one of his finer poems whereupon Eumolpus accuses him of stealing verses from Lucretius. Enraged, Trimalchio orders the poet to be tortured by his slaves in the villa's huge kitchen furnace. The guests are then invited to visit Trimalchio's tomb where he enacts his own death in an ostentatious ceremony. The story of the Matron of Ephesus is recounted, the first story within a story in the film. [5] Encolpius finally leaves the villa, helping the limping, beaten Eumolpus to drink water from a pool in a tilled field. In return for his kindness, Eumolpus bequeaths the spirit of poetry to his young friend.

The next morning Encolpius, Gitón, and Ascyltus are imprisoned on the pirate ship of Lichas, a middle-aged merchant; they are part of a consignment of attractive young men being delivered for the titillation of the reclusive Roman emperor. Lichas selects Encolpius for a Greco-Roman wrestling match and quickly subdues him. Smitten by his beauty, Lichas takes Encolpius as his spouse in a wedding ceremony blessed by his wife, Tryphaena. After a long voyage the ship arrives at the emperor's private island, only to find it overrun by soldiers in the service of a usurper. The teenage emperor kills himself, and the soldiers board the ship and behead Lichas under Tryphaena's satisfied gaze. While "new Caesar" holds a fearsome victory parade back in Rome, Encolpius and Ascyltus escape the soldiers and make their way inland. They discover an abandoned villa, whose owners have freed their slaves and committed suicide to escape the new emperor. Encolpius and Ascyltus spend the night on the property and make love with an African slave girl who has stayed behind. Fleeing the villa when soldiers on horseback arrive in the courtyard to burn the owners' corpses, the two friends reach a desert. Ascyltus placates a nymphomaniac's demands in a covered wagon while Encolpius waits outside, listening to the woman's servant discuss a hermaphrodite demi-god reputed to possess healing powers at the Temple of Ceres. With the aid of a mercenary, they kill two men and kidnap the hermaphrodite in the hope of obtaining a ransom. Once exposed to the desert sun, however, the hermaphrodite sickens and dies of thirst. Enraged, the mercenary tries to murder his two companions but is overpowered and killed.

Captured by soldiers, Encolpius is released in a labyrinth and forced to play Theseus to a gladiator's Minotaur for the amusement of spectators at the festival of Momus, the God of Laughter. When the gladiator spares Encolpius's life because of his well-spoken words of mercy, the festival rewards the young man with Ariadne, a sensual woman with whom he must copulate as the crowd looks on. Impotent, Encolpius is publicly humiliated by Ariadne. Eumolpus offers to take him to the Garden of Delights where prostitutes are said to effect a cure for his impotence, but the treatment—gentle whipping of the buttocks—fails miserably. In the second of the stories within a story in the film, the owner of the Garden of Delights narrates the tale of Oenothea to Encolpius. For having rejected his advances and humiliating him, a sorcerer curses a beautiful young woman: she must spend her days kindling fires for the village's hearths from her genitalia. Inspired, Encolpius and Ascyltus hire a boatman to take them to Oenothea's home. Greeted by an old woman who has him drink a potion, Encolpius falls under a spell where his sexual prowess is restored to him by Oenothea in the form of an Earth Mother figure and sorceress. When Ascyltus is murdered in a field by the boatman, Encolpius decides to join Eumolpus's ship bound for North Africa. But Eumolpus has died in the meantime, leaving as his heirs all those willing to eat his corpse. Encolpius has not the stomach for this last and bitter mockery but is nonetheless invited by the captain to board the ship. In a voice-over, Encolpius explains that he set sail with the captain and his crew. His words end in mid-sentence, as does Petronius's book, when a distant island appears on the horizon and the film cuts abruptly to frescoes of the film's characters on a crumbling wall.

Cast

Adaptation

Petronius's original text survives only in fragments. While recuperating from a debilitating illness in 1967, Fellini reread Petronius and was fascinated by the missing parts, the large gaps between one episode and the next. [6] The text's fragmentary nature encouraged him to go beyond the traditional approach of recreating the past in film: the key to a visionary cinematic adaptation lay in narrative techniques of the dream state that exploited the dream's imminent qualities of mystery, enigma, immorality, outlandishness, and contradiction. [6] In Comments on Film, Fellini explained that his goal in adapting Petronius's classic was "to eliminate the borderline between dream and imagination: to invent everything and then to objectify the fantasy; to get some distance from it in order to explore it as something all of a piece and unknowable." [7] Critic Christopher Sharrett observes that Fellini's "adaptation also reveals the paucity of the source, the kitschiness of the 'big ideas' from literary history. Genre film is a comfortable vehicle for the critical agenda undertaken, as Fellini piles up genre tropes as a way of showing the inherent generic contrivance, the 'trashiness,' that is basic to all such representation." [8]

The most important of the narrative changes [9] that Fellini makes to Petronius's text is the addition of a battle between Encolpius and the Minotaur in the Labyrinth thereby linking Encolpius to Theseus and the journey into the unconscious. Other original sequences include a nymphomaniac in a desert caravan whose despondent husband pays Ascyltus and Encolpius to couple with her, and a hermaphrodite worshipped as a demigod at the Temple of Ceres. Abducted by the two protagonists and a mercenary, the hermaphrodite later dies a miserable death in a desert landscape that, in Fellini's adaptation, is posed as an ill-omened event, none of which is to be found in the Petronian version.

Though the two protagonists, Encolpius and Ascyltus, appear throughout, the characters and locations surrounding them change unexpectedly. This intentional technique of fragmentation conveys Fellini's view of both the original text and the nature of history itself, and is echoed visually in the film's final shot of a ruined villa whose walls, painted with frescoes of the scenes we have just seen, are crumbling, fading and incomplete. [10] Fellini's interest in Carl Jung's theory of the collective unconscious is also on display with an abundance of archetypes in highly dreamlike settings. [11]

Production

Fellini's project saw competition from another film titled Satyricon , released the same year. Producer Alfredo Bini had registered the Satyricon title in 1962. When Fellini and his producer Alberto Grimaldi started work on their film, Bini contracted Gian Luigi Polidoro to direct his own version. Grimaldi sued Bini to halt the competing film, but lost; as a result, Fellini's picture was titled Fellini Satyricon to distinguish it. [12]

Filming took place primarily at Cinecittà Studios, on sets designed by Danilo Donati, who also designed the production's costumes. The film also used exteriors locations at Fiumicino, Latina, and the Pontine Islands. The cavern sequences were filmed below the Roman Colosseum. Co-screenwriter Bernardino Zapponi noted that Fellini used a deliberately jerky form of dubbing that caused the dialogue to appear out of sync with the actors' lips. This was in keeping with his original intention of creating a profound sense of alienation throughout the film. [13]

Release

Home media

Fellini Satyricon was released on VHS by 20th Century Fox Home Entertainment on 7 September 1999. [14] The film was then released on DVD by Metro-Goldwyn-Mayer Home Entertainment on 10 April 2001, for Region 1 and on 15 May 2005, for the German market.[ citation needed ]

On 24 February 2015, The Criterion Collection released the film, newly restored through a 4K digital transfer, on Blu-ray and DVD for Region A and Region 1 respectively. The restoration was supervised by the film's cinematographer Giuseppe Rotunno. Both of the editions include the film's original trailer, an audio commentary of Eileen Lanouette Hughes's memoir On the Set of "Fellini Satyricon": A Behind-the-Scenes Diary, Gideon Bachmann's hour-long documentary Ciao, Federico!, archival interviews with the film's director Federico Fellini, a new interview with Rotunno done in 2011, a new exclusively made documentary titled Fellini and Petronius featuring discussions between classicists Luca Canali and Joanna Paul about the film's adaptation of Satyricon, a new interview with Mary Ellen Mark, a photographer for Look magazine, about her experiences on the film's set taking photographs of the shoot, a gallery of ephemera related to the film, a newly made English subtitle translation, and a leaflet containing a new essay by author and film scholar Michael Wood. Exclusive to the Blu-ray edition is the addition of an uncompressed monaural soundtrack. The new Blu-ray and DVD cover and interior poster was illustrated by Edward Kinsella and designed by Eric Skillman. [15] [16] On 27 April 2015, Eureka Entertainment released the film on Blu-ray in the United Kingdom as part of the Masters of Cinema series, using as a foundation the 4K digital transfer done for the Criterion release. This release includes a 36-page booklet and the film's original trailer.[ citation needed ]

Reception

Italy

First screened at the 30th Venice Film Festival on 4 September 1969, Fellini Satyricon received generally positive reviews by critics writing in "stunned bewilderment". [17] Time reported that the "normally reserved press corps gave the film a five-minute ovation ... the Venice showing was so wildly popular that festival tickets, normally 2,000 lire ($3.20), were being sold on the black market at 60,000 lire (about $100) apiece". [18] Fellini biographer Tullio Kezich noted that there were "no outright negative reactions. The rampant moralizing of ten years ago seems to have passed out of fashion". [19] In his favorable Corriere della Sera review, Giovanni Grazzini argued that "Fellini's Rome bears absolutely no relationship to the Rome we learned about in school books. It is a place outside historical time, an area of the unconscious in which the episodes related by Petronius are relived among the ghosts of Fellini ... His Satyricon is a journey through a fairytale for adults. It is evident that Fellini, finding in these ancient personages the projection of his own human and artistic doubts, is led to wonder if the universal and eternal condition of man is actually summed up in the frenzied realization of the transience of life which passes like a shadow. These ancient Romans who spend their days in revelry, ravaged by debauchery, are really an unhappy race searching desperately to exorcise their fear of death". [20]

Kezich saw the film as a study in self-analysis, stating, "Everything seems to be aimed at making the viewer feel ill at ease, at giving him the impression that he is watching for the first time scenes from a life he never dreamed could have existed. Fellini has described his film as 'science fiction of the past', as though the Romans of that decadent age were being observed by the astounded inhabitants of a flying saucer. Curiously enough, in this effort of objectivity, the director has created a film that is so subjective as to warrant psychoanalysis. It is pointless to debate whether the film proposes a plausible interpretation of ancient Rome, or whether in some way it illustrates Petronius: the least surprising parts are those that come closest to Petronius's text or that have some vague historical significance." [21]

The film performed well at the box office in Italy, France, and Japan. [22]

The film was selected as the Italian entry for the Best Foreign Language Film at the 42nd Academy Awards, but was not accepted as a nominee. [23] The following year, Fellini was nominated for the Academy Award for Best Director. [24]

United States

The film holds a 76% rating on Rotten Tomatoes, based on 34 reviews, with an average rating of 6.8/10. The website's critical consensus states: "Episodic and strange, Satyricon offers a hedonistic tour through an ancient Rome that exists not in history books, but from Federico Fellini's singular imagination". [25]

As co-producers keen to recoup their investment, executives at United Artists made certain that Fellini received "a maximum of exposure" during his American promotional tour of the film by organizing press and television interviews in New York and Los Angeles. [26] For Vincent Canby of The New York Times , Satyricon was "the quintessential Fellini film ... a travelogue through an unknown galaxy." [27] Roger Ebert of The Chicago-Sun Times originally stated the film was a masterpiece, and he ranked the film 10th in his 10 Best Films of 1969 list. [28] He later explained he was unsure the film was in fact a masterpiece, but nonetheless gave the film a high retrospective rating in 2001. He wrote: "It is so much more ambitious and audacious than most of what we see today that simply as a reckless gesture, it shames these timid times." [29] For Archer Winston of the New York Post , the film's classical background in Petronius was fused into "a powerful contemporary parallel. It is so beautifully composed and imagined that you would do yourself a disservice if, for any reason, you allowed yourself to miss it". [30] Fellini biographer Parker Tyler declared it "the most profoundly homosexual movie in all history". [31]

See also

Related Research Articles

<span class="mw-page-title-main">Federico Fellini</span> Italian filmmaker (1920–1993)

Federico Fellini was an Italian film director and screenwriter. He is known for his distinctive style, which blends fantasy and baroque images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time. His films have ranked highly in critical polls such as that of Cahiers du Cinéma and Sight & Sound, which lists his 1963 film 8+1⁄2 as the 10th-greatest film.

<span class="mw-page-title-main">Trimalchio</span> Fictional character in the Satyricon

Trimalchio is a character in the 1st-century AD Roman work of fiction Satyricon by Petronius. He features as the ostentatious, nouveau-riche host in the section titled the "Cēna Trīmalchiōnis". Trimalchio is an arrogant former slave who has become quite wealthy as a wine merchant. The name "Trimalchio" is formed from the Greek prefix τρις and the Semitic מלך (melech) in its occidental form Malchio or Malchus. The fundamental meaning of the root is "King", and the name "Trimalchio" would thus mean "Thrice King" or "greatest King".

<i>Satyricon</i> Latin work of fiction attributed to Petronius

The Satyricon, Satyriconliber, or Satyrica, is a Latin work of fiction believed to have been written by Gaius Petronius in the late 1st century AD, though the manuscript tradition identifies the author as Titus Petronius. The Satyricon is an example of Menippean satire, which is different from the formal verse satire of Juvenal or Horace. The work contains a mixture of prose and verse ; serious and comic elements; and erotic and decadent passages. As with The Golden Ass by Apuleius, classical scholars often describe it as a Roman novel, without necessarily implying continuity with the modern literary form.

<i>Amarcord</i> 1973 film by Federico Fellini

Amarcord is a 1973 comedy-drama film directed by Federico Fellini, a semi-autobiographical tale about Titta, an adolescent boy growing up among an eccentric cast of characters in the village of Borgo San Giuliano in 1930s Fascist Italy. The film's title is a univerbation of the Romagnol phrase a m'arcôrd. The title then became a neologism of the Italian language, with the meaning of "nostalgic revocation". The central role of Titta is based on Fellini's childhood friend from Rimini, Luigi Titta Benzi. Benzi became a lawyer and remained in close contact with Fellini throughout his life.

Gaius Petronius Arbiter was a Roman courtier during the reign of Nero. He is generally believed to be the author of the Satyricon, a satirical novel believed to have been written during the Neronian era. He is one of the most important characters in Henryk Sienkiewicz' historical novel Quo Vadis (1895). Leo Genn portrays him in the 1951 film of the same name.

<i>8½</i> 1963 film by Federico Fellini

8½ is a 1963 comedy drama film co-written and directed by Federico Fellini. The metafictional narrative centers on Guido Anselmi, a famous Italian film director who suffers from stifled creativity as he attempts to direct an epic science fiction film. Claudia Cardinale, Anouk Aimée, Sandra Milo, Rossella Falk, Barbara Steele, and Eddra Gale portray the various women in Guido's life. The film was shot in black and white by cinematographer Gianni Di Venanzo and features a score by Nino Rota, with costume and set designs by Piero Gherardi.

<i>La dolce vita</i> 1960 Italian comedy-drama film directed by Federico Fellini

La dolce vita is a 1960 satirical comedy-drama film directed by Federico Fellini. It was written by Fellini, Ennio Flaiano, Tullio Pinelli, and Brunello Rondi. The film stars Marcello Mastroianni as Marcello Rubini, a tabloid journalist who, over seven days and nights, journeys through the "sweet life" of Rome in a fruitless search for love and happiness. The screenplay can be divided into a prologue, seven major episodes interrupted by an intermezzo, and an epilogue, according to the most common interpretation.

<i>Juliet of the Spirits</i> 1965 film by Federico Fellini

Juliet of the Spirits is a 1965 fantasy comedy-drama film directed by Federico Fellini and starring Giulietta Masina, Sandra Milo, Mario Pisu, Valentina Cortese, and Valeska Gert. The film is about the visions, memories, and mysticism that help a middle-aged woman find the strength to leave her philandering husband. The film uses "caricatural types and dream situations to represent a psychic landscape". It was Fellini's first feature-length color film, but followed his use of color in "The Temptation of Doctor Antonio" episode in the portmanteau film, Boccaccio '70 (1962).

<span class="mw-page-title-main">Giulietta Masina</span> Italian actress (1921–1994)

Giulia Anna "Giulietta" Masina was an Italian film actress best known for her performances as Gelsomina in La Strada (1954) and Cabiria in Nights of Cabiria (1957), for which she won the Cannes Film Festival Award for Best Actress at the 1957 Cannes Film Festival.

<i>La Strada</i> 1954 Italian drama film directed by Federico Fellini

La strada is a 1954 Italian drama film directed by Federico Fellini and co-written by Fellini, Tullio Pinelli and Ennio Flaiano. The film tells the story of Gelsomina, a simple-minded young woman bought from her mother by Zampanò, a brutish strongman who takes her with him on the road.

<i>I Vitelloni</i> 1953 Italian comedy-drama film directed by Federico Fellini

I vitelloni is a 1953 Italian comedy drama film directed by Federico Fellini from a screenplay written by himself, Ennio Flaiano and Tullio Pinelli. It stars Franco Interlenghi, Alberto Sordi, Franco Fabrizi, Leopoldo Trieste, and Riccardo Fellini as five young Italian men at crucial turning points in their small town lives. Recognized as a pivotal work in the director's artistic evolution, the film has distinct autobiographical elements that mirror important societal changes in 1950s Italy.

<i>And the Ship Sails On</i> 1983 Italian film

And the Ship Sails On is a 1983 Italian film directed and co-written by Federico Fellini. It depicts the events on board a luxury liner filled with the friends of a deceased opera singer who have gathered to mourn her. The film was selected as the Italian entry for the Best Foreign Language Film at the 56th Academy Awards, but was not accepted as a nominee.

<i>Fellinis Casanova</i> 1976 film by Federico Fellini

Fellini's Casanova is a 1976 Italian film directed by Federico Fellini from a screenplay he co-wrote with Bernardino Zapponi, adapted from the autobiography of 18th-century Venetian adventurer and writer Giacomo Casanova, played by Donald Sutherland. The film depicts Casanova's life as a journey into sexual abandonment, and his relationship with the "love of his life" Henriette. The narrative presents Casanova's adventures in a detached, methodical fashion, as the respect for which he yearns is constantly undermined by his more basic urges.

<i>City of Women</i> 1980 film

City of Women is a 1980 Italian fantasy comedy-drama film co-written and directed by Federico Fellini. Amid Fellini's characteristic combination of dreamlike, outrageous, and artistic imagery, Marcello Mastroianni plays Snàporaz, a man who voyages through male and female spaces toward a confrontation with his own attitudes toward women and his wife.

<i>Im a Born Liar</i>

I'm a Born Liar: A Fellini Lexicon is a book combining film stills and photographs with transcripts of the last filmed interviews with Federico Fellini conducted by Canadian filmmaker Damian Pettigrew in Rome in 1991 and 1992. The interviews are edited and introduced by Pettigrew with a preface by Italian film critic and Fellini biographer Tullio Kezich.

<i>Fellini: A Directors Notebook</i> 1969 American film

Fellini: A Director's Notebook is an Italian documentary for television directed by Federico Fellini shot in 16mm and first broadcast in the United States on NBC in 1969, on NBC Experiment in Television.

<span class="mw-page-title-main">Brunello Rondi</span> Italian film director and screenwriter

Brunello Rondi was an Italian screenwriter and film director, best known for his frequent script collaborations with Federico Fellini.

<i>Satyricon</i> (1969 Polidoro film) 1969 Italian film

Satyricon, also named The Degenerates, is an Italian film from 1969 directed by Gian Luigi Polidoro. Like the more famous version made by Federico Fellini, the film is loosely based on Petronius's work, Satyricon, a series of bawdy and satirical episodes written during the reign of the emperor Nero and set in imperial Rome.

<span class="mw-page-title-main">Fanfulla</span> Italian actor

Luigi Visconti, better known by his stage name Fanfulla, was an Italian actor and comedian.

<i>Satiricosissimo</i> 1970 Italian film

Satiricosissimo is a 1970 Italian comedy film directed by Mariano Laurenti starring the comic duo Franco and Ciccio. It is a parody of the 1969 Federico Fellini film Fellini Satyricon.

References

Notes

  1. ↑ John Russell Taylor, The Second Wave: British Drama for the Seventies (London: Routledge Revivals, 1971), p. 71
  2. ↑ "Fellini – Satyricon (X)". British Board of Film Classification . 14 April 1970. Retrieved 11 November 2012.
  3. 1 2 Tino Balio, United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987, p. 287
  4. ↑ "Big Rental Films of 1970", Variety, 6 January 1971, p. 11
  5. ↑ Bondanella, 260
  6. 1 2 Bondanella, 239
  7. ↑ Fellini, Comments on Film, 173
  8. ↑ Sharrett, "Intertext and the End of Humanism" in Federico Fellini: Contemporary Perspectives (ed. Burke and Waller), Toronto: Toronto University Press (2002), 125.
  9. ↑ According to Bondanella, 246
  10. ↑ Bondanella, 240.
  11. ↑ Bondanella, 240
  12. ↑ Kezich, 292
  13. ↑ Bondanella, 244
  14. ↑ "VHS: Fellini Satyricon". Tower.com . Tower.com Inc. Retrieved 12 September 2015.[ permanent dead link ]
  15. ↑ "Fellini Satyricon (1969)". The Criterion Collection. The Criterion Collection . Retrieved 12 September 2015.
  16. ↑ "Criterion Collection (Fellini Satyricon)". Edward Kinsella Illustration. Edward Kinsella. 16 April 2015. Archived from the original on 4 March 2016. Retrieved 12 September 2015.
  17. ↑ Kezich, 286
  18. ↑ Time, 10 September 1969
  19. ↑ Kezich, 287
  20. ↑ Grazzini's review first published in Corriere della Sera , 5 September 1969. Fava and Vigano, 135
  21. ↑ Kezich's review first published in Panorama, 18 September 1969. Fava and Vigano, 136.
  22. ↑ Alpert, 219
  23. ↑ Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
  24. ↑ "The 43rd Academy Awards (1971) Nominees and Winners". oscars.org. Retrieved 26 November 2011.
  25. ↑ Fellini Satyricon at Rotten Tomatoes
  26. ↑ Alpert, 220
  27. ↑ Canby, Vincent (15 March 1970). "Fellini's Magical Mystery Tour". The New York Times. Retrieved 27 November 2020.
  28. ↑ "Ebert's 10 Best Lists: 1967–present". Chicago Sun-Times. Archived from the original on 8 September 2006.
  29. ↑ Ebert, Roger (27 July 2001). ""Fellini Satyricon"". RogerEbert.com. Retrieved 27 November 2020.
  30. ↑ Fava and Vigano, 138
  31. ↑ Alpert, 221

Bibliography

Further reading

Documentary
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.