Fellini Satyricon

Fellini engages us through a tapestry of decadence during the Roman Empire with such stunning juxtapositions of exceptional images from a collapsing society that one cannot help but be reminded of our own times and its disconcert morality…

The film is freely adapted from Petronius' book, which is the exploits of two young Romans, Ascilto and Encolpio, as they venture throughout the empire, indulging in both heterosexual and homosexual relationships… In the course of this proliferation of sensuality, Ascilto becomes impotent and madly goes for a cure which ends in tragedy for Encolpio…

The movie's treatment of the sexual decadence is remarkably powerful without being explicit… In fact, in light of the mental images it presents, it actually puts on view very little on screen… But there is a great quantity of mysterious whores, hedonists, gluttons, and gross indulgence in carnal pleasure… In the midst of this chaos, however, there is a beautifully light reprieve as the young Romans come across a forsaken villa... A very charming slave girl has remained behind, and she playfully troubles the two men into an erotic game…

Apart from that, the sex is portrayed as bizarre, tempting, suggestive of hidden secrets, violating the rules of morality, and going beyond the limit

Fellini Satyricon is based on the first century "novel" by the Roman writer Petronius Arbiter, who was a sometime crony of the degenerate emperor Nero, and who was ultimately one of his numerous victims. If any writer from this period is a perfect match-up for movie adaptation by Fellini, it is certainly Petronius. The structure of the book is similar to the organization of many Fellini movies -- a series of somewhat loosely related stories woven around the adventures of a central character, who in this case is an attractive scoundrel, or, rather, two scoundrels. The movie itself features comedy of several varieties -- the simultaneous send-up of the hedonistic ex-slave Trimalchio's pretensions and of the hypocrisy of the philosopher who is one of his meal-grubbing guests; the loss of sexual prowess in front of a jeering crowd of onlookers; the attempt to steal a hermaphroditic "god" from his/her shrine; the escapes from death by the hand of Nero's grim sea-captain (who marries Encolpius in a homosexual sailor parody of a wedding ceremony) and from the Minotaur (who says, "Today I have lost the contest but I have made a new friend"). And there is much more, often bizarre and always entertaining. The ambience of Rome and of various corners of the empire is depicted beautifully. There are brief visual "flashes" only marginally related to the story which are penetrating and lasting in their imagery (for instance, the Roman general leading a column of soldiers on a destructive march). And the movie ends on a beautiful note -- the fading of Encolpius at a banquet into a wall mosaic that has lasted to the present day -- a symbol of the timelessness of humanity? Perhaps, but by the way, Fellini has led us here by means of a very special banquet, a cannibalistic feast on the corpse of a wealthy man who makes this ceremony a condition of sharing in the proceeds of his last will and testament. After two thousand years the grimness is gone, but the beauty and humor remain.

Fellini called his "Satyricon" a science fiction film projected into the past. His expressive portrait of ancient Rome is a richly ornamented fresco of contrasts; variations within a select kaleidoscope of opposites related to the sacred, the pure, the just, and the beautiful.

Reportedly a free adaptation of the now fragmentary writings of Petronius, the film also makes fleeting references to various scattered works and myths of antiquity. Even the language is a blend of various dialects and accents, effectively brewed together into a type of "primordial soup."

The film features a young man named Encolpio and his sometime friend Ascilto; both of whom seem to prefer participatory experience as a means to finding meaning in life while primarily disregarding status, power and possessions. Contrasting some of the film's more serene scenes with those of unrest and discord, patterns supportive of a life lived from a similar experiential perspective begin to emerge. Some examples are as follows:

During the "Death to the Classics" scene, the poet Eumolpo says that the arts have declined because the desire for "virtue" has been lost. Dialectical discussion and philosophy have been replaced with drinking, vice and monetary greed, thus preventing further creation of works of art at the same pinnacle of excellence as the classics.

Later when Eumolpo and Encolpio recline in the open field encased in an early morning mist, the elderly poet bequeaths to Encolpio a series of "natural" phenomena; among them mountains, rivers, clouds, love, tears, joy, sound, song and the voices of man...

During the "Matron of Ephesus" scene, a young woman mourning her deceased husband by starving to death in a cave has her chalk white face returned to its natural radiance after accepting the embrace of a handsome soldier. The moral being "...better to hang a 'dead' husband than to lose a 'living' lover..."

A politically doomed and suicidal married couple free their slaves whereupon a reference is made to the "sacred" earth. Their children are sent away to a place free from tyranny which will be "beautiful." Later, Encolpio and Ascilto arrive at the couple's elegant home and enjoy a night of revelry during which Encolpio quotes the "poet" as having said "...as for me I have always lived to enjoy the present moment as if it were the last sunrise..."

The tale of the beautiful Enotea and her subsequent punishment after she tricked the wizard who had professed his love for her seems to be a warning to remain "true" to expressions of affection.

Following what appears to be his final corruption after having abandoned his idealistic philosophy, Eumolpo proposes an interesting last will and testament. Those wishing to inherit a part of his worldly fortune are asked to devour his remains. Reflecting the hippie generation's symbolic scorn of rampant materialism during the shooting of this film, Encolpio and his friends smile and turn away, heading onward toward a new adventure.

The scenes of discord in the film appear to reflect issues related to social and political methods of enforced control over others. For example, during the banquet of Trimalcione, his sycophants eat, laugh, chant, dance, perform and throw objects on cue. While a captive at sea, Encolpio is made an object of entertainment for the pirate Lica. Later he is forced to battle a huge "minotaur' for the entertainment of a proconsul and his puppet court during the "gladiator prank" sequence.

Fellini makes strong use of colour symbolism in "Satyricon." The film opens in what appears to be a large Roman steam bath. There is the occasional sound of water dripping, and in Encolpio's tenement a seemingly wealthy group of party goers arrive on a small boat in the water, perhaps ready to go "slumming" with the poor. There is also a bluish tint to many of these early scenes as if they were being viewed through water. Later, during Trimalcione's feast, a flame red lens filter appears to overshadow the initial candle lit display giving the impression of an envelopment of fire. During the outdoor scenes on Lica's boat, the sound of the wind is recurrent and a blitz of snow appears providing a possible reference to the air element. Near the end of the film, Encolpio enters a maze by sliding in the dirt down a hillside. Following his battle with the minotaur, a dust storm blows as he attempts to make love with Arianna. Later, when he visits the elderly Enotea, she lets dirt fall from her clenched fists as if giving a silent reference to the earth element.

There are also many references to the supernatural and paranormal. Eyes stare into the camera as if to give reference to phantoms from antiquity looking at those presently alive as if to question. While Encolpio and Eumolpo have their discussion in the art gallery, a two tiered galley of soundless faces inexplicably passes by like unknown entities observing the men's conversation through a hole in the wall. There is a curious space-like object on the deck of Lica's ship. In addition, a momentary glimpse of supernatural visionary lights appear during the abduction of the "mystical" hermaphrodite who subsequently dies after having been exposed to the "light" of day. The film also presents a recurring symbolism of carved and imprinted heads eventually given great emphasis with Lica's startling decapitation. Perhaps the question is, has society become too obsessed with the intellect at the expense of the heart and the inherent value of the individual person? Perhaps not so for Fellini, as the entire film is intensely alive with a glorious blend of color; each face, each person, in Fellini's words, serving as an integral part of his artwork on film.

Finally, like the eternal wheel and his initial greeting, Encolpio's farewell is presented in front of a stone background and he is interrupted in mid sentence giving ....

I've voted 8 out of 10 for Fellini Satyricon, but I can imagine that a few people may find that to be an overly indulgent grade. Actually, I know that a few people will feel that way -- I've shown it to several friends, and they all agree it looks beautiful and manages to amuse on numerous occasions. But they don't get much more out of it. That's too bad for them. Aaaw yeah.

As Vincent Canby said in his review, from 1970 in the New York Times, 'Fellini Satyricon is its own justification'. This movie exists purely to engage on an aesthetic level. The surrealism, the carnival-of-life atmosphere, the monumental pageantry, the visual juxtaposition of beauty and ugliness, and the black humour are all the film possesses and are all it requires. I believe that Fellini's intention with this film was simply to entertain. And he was a master entertainer, no doubt.

Don't expect much in the way of characterisation, of complex plot developments, or of nifty moral expression. This is a film that looks and sounds beautiful, and it manages to hold your interest (or mine anyway, I can't speak for everyone) for two brief hours by doing just that. Fellini = Godlike genius.

For a long time I have been interested in seeing the work of Fellini, and it would seem Satyricon would be my first taste, but it was not one bit appetising. Many opinions vary on this film, some hail it as a masterpiece, others pass it off as a self-indulgent failure, well I'm afraid I'm with the latter group. Satyricon is a slow, bleak and slightly disturbing look at depraved ancient Rome, as two young men fight for the attention of a young slave boy, they are involved in a series of bizarre, erotic and non-linear escapades. I think I got to the emperor's pre-funeral party (about an hour in) before I began tiring of the film, it was just too much to take in and not hardly as interesting as I had thought, also the morals of the film where a bit troubling, now I am no prude but you only have to look at the lecherous cover art to see what I'm talking about. Don't get me wrong, the film is not that graphic, but there is an unsettling air that runs through it. I'm not going to abandon Fellini, having spoken to others who where also bored and puzzled by Satyricon but have enjoyed his other works, I think I may just have to start with one of his earlier films.