From the figurative aspect, it is the most worn‐out, exhausted and bloodless of all. Why, at this stage of his career, is he tackling Casanova? “I've always been interested in the 18th century. Just as they want to see the dinner table piled high with food, they have to see a woman with an
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It's likely that repression by the Catholic Church has caused Italian men to grow up famished gastronomically and sexually. “My films are about Italians it's not my fault if sex relationships here center on a mother figure represented by mountains of bosoms. “Do I have to apologize for that?” Fellini bristles. In “Casanova,” scheduled for release in the fall of 1976, we will catch a glimpse of Chesty Morgan, reputedly the bustiest woman in the world. Women of generous proportions have been prominently featured in every film Fellini has made: in “Amarcord” there was the corpulent tobacconist, in “8½” there was an enormously fat prostitute, and “Roma” had a woman with three breasts. The optimism of Italians convinces them that if someone's looking for a giant, he'll certainly need a dwarf as well.” Midgets and transvestites also turned up. He spoke from personal experience-it was his wife. “When I first looked for a giantess who would wrestle Casanova, a Roman called, saying he had just the person for me, a terrific battler. What about Sandy Allen, from Indiana, who stands 7 feet 5 inches? “They needed a special plane to bring her to Rome,” replies Fellini.
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“Anybody would think that the world is full of only beautiful people,” he says. I try to tap that.”įellini's critics complain of his passion for the bizarre, his obsession with grotesque iaces and misshapen bodies. Each actor is a human reality and therefore different.
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“Non‐professionals are frequently more professional than professionals.
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“Sometimes professional actors are too rigid in their specialty to suit my purposes,” Fellini explains. Apart from Sutherland, none of the cast is well‐known. We repair to his office which is covered with photographs of would‐be actors. Perhaps in this way my tale will be about a Casanova of all times, not just a local lad from 18th‐century Venice.”Īfter six takes, the sex‐inthe‐salon scene is completed and Fellini leans against a wall, feigning exhaustion. At any rate, I've told myself this nice story to justify my working in a strange language. Psychologically, it's a tension that can be useful to me. I accepted because we need American money. To force me to make a film in English is sheer madness, to be blamed on Universal, or is it Fox? Ah, yes, Universal. I, too, pretend that I don't understand English, with the difference that I don't really understand it. “I have an interpreter translating my English into English for Sutherland, who knows Italian perfectly well but pretends not to so he can hear everything that's being said.
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One gets the distinct feeling that Fellini is not totally at ease shooting a film in English. He gives instructions in English to Donald Sutherland, his conspicouosly offbeat Casanova, and in French to Margaret Clementi, who plays the naughty nun.
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The one thing you can be sure of is that you can never be sure of what the Maestro lin in mind as he scurries about the set, communicating to his cast and crew, Fellini‐style. Perhaps Fellini is jesting about posing for the spicy mural, just as it is possible he is putting me on throughout the entire day I spend with him on the Cinecitta Studios set of “Casanova,” the director's first film since the enormously successful “Amarcord.” It is even conceivable that Fellini is indulging in a bit of cinematic leg‐pulling as he lends his celebrated, bigger‐than‐life touch to the fuzzy historical facts about Giovanni Jacopo Casanova de Seingalt, the scandalous 18th‐century Italian philosopher‐philanderer whose “Memoirs” have supplied us with a splendid picture of his society's manners and morals, as well as an undoubtedly exaggerated account of his own amorous exploits. “I posed for those drawings,” says Federico Fellini. ROME Casanova makes love to a libidinous nun in a mirrorlined salon which is decorated with Chinese‐style erotic drawings portraying a curvaceous woman and an extravagantly endowed man.