Damn! The more dirty and messy absurd and flirtatious version of "The Sweet Life", the ugly and lustful "Eight and a Half", the promiscuous and loveless "Myth of Love" in the 18th century. I knew right from the beginning that this guy Fellini started again as an image maker. The art and scenery are still gorgeous, and the group scenes are still vulgarly refined. The ocean of plastic bags is so interesting. The character aspect this time focuses on "ugly" or "uglier". Fellini's disgust and contempt for Casanova from beginning to end, that bird with music and frequency is too funny. A lot of women worship. A total of 10 women's events, did 8 games. (please point out any mistakes).
Record it: nun (the first show of the fish-eye invincible bird), textile girl (Casanova is really pervasive), seed-picking girl (the real sense of ritual is okay), assisting girl (being in Cao Yingxin and Han is so interesting ), cello girl (the only one that looks good),
London Mother and Daughter (Casanova wanted to commit suicide after getting out of the car), Giant Girl (Casanova's lewd goddess), competition (acupuncture after it was too funny), two-wheel group*( It's so awesome, so awesome, can I say it's very musical), the final dummy (the music seems to be Liszt's "The Bell").
A subversive and allegorical biography of the pitiful life of a Venetian cannon king. There are so many interesting places! The dialogue and performance of the male-male skit were very impressive, and the two were ugly and cute when they sang Cupid.
The giant woman is the savior who made Casanova give up suicide with just one look. This product is really the nature of the hunter/hunter king.
In the circus that followed, the passage of Mona, the queen of whales, was too high. Interestingly, the following paragraph refers to Li Bai's poem, the last four lines of "Drinking Three of My Own Alone Under the Moon".
The last two rotten parties pushed the absurd and promiscuous scenes to a climax.
There are so many amazing clips, as well as the scene of fanning out the huge candle light, the appearance of the huge turtle, it's too cruel. Fellini always makes us worthwhile in his films, stunned by his imagination countless times.
Casanova was stripped down again and again by Fellini: the part of his true masculinity, and the part of being human, all died in front of his cowardice and meanness; his so-called self-proclaimed talent was too late After verification, he lost to his ability as a "stall"; he has no backbone and feelings, no long-term pursuit, he is just a sexual desire machine, an empty shell.
He eventually grows old, along with the nature of old age and his sexuality. He's totally become a walking dead. In the ridicule of others and the loneliness that he could not escape, I made my own decisions and developed a little pity for him for Fellini. I watched him still sadly call himself an "artist" and a "writer"; I watched him introduce himself to his portrait as "Giocomo Casanova of Venice" and a "philosopher".
The poor fellow, after being laughed at for the last time, in a dream, returned to Venice. There, in the witness of the dreamy carriage, Casanova danced the last dance with the mechanical dummy.
Yes, his last thoughts and softness were dedicated to the mechanical dummy in the dream before he died.
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