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更新时间：2023-11-13 15:25
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卡萨诺瓦（大卫·田纳特 David Tennant 饰）是当地出了名的花花公子，没有一个女人能够抵挡得了他含情脉脉的注视，全都拜倒在他的脚下。随着时间的推移，卡萨诺瓦的风流触怒了宗教局，他遭到了逮捕和审判，险些被判处绞刑。幸运的是，卡萨诺瓦得到了朋友的救助，但同时，他也被下达了最后通牒，如果不能够找到一个正派女子与之结婚，那么卡萨诺瓦将被永远的从威尼斯驱逐。 一次偶然中，卡萨诺瓦邂逅了名叫弗朗西斯卡（罗丝·伯恩 Rose Byrne 饰）的女子。和卡萨诺瓦所认识的大部分女人不同，弗朗西斯卡饱读诗书聪慧狡黠，个性自由奔放，这一点倒挺像卡萨诺瓦的。弗朗西斯卡所散发出的致命魅力很快就俘获了卡萨诺瓦的心。
长篇影评
1 ) 那道伤口，使用了错误的纱布前去包裹，虽发出疼痛泛出鲜血，却始终不曾为人发现…
一直不喜费里尼构图与镜头设计，总觉笼杂而多三分糜烂 然结合费里尼生平确不难了解此缘由 不过魂牵梦绕的一字“性”而已，故随不喜却不愿受此而影响评分
影片讲述意大利情圣卡萨维诺风流往事与凄切没落晚年。至影片结束之刻仍不时自问该当对“卡萨诺瓦”其人作何定义（想购其人自传，但是真他喵的贵😭）那是一种上天赐予的独特能力便是“性”，影片开篇“卡萨诺瓦”向大使自述便显出其人所欲绝非“性交”二字，其拥有真正的理想“诗歌”“哲学”“政治”，他仅仅是欲以性能力这一独特天赋作为跳板跃于高处（倒是想起 “有权力的人，只要轻声细语，每一个人也能听得详细；没权力的人，就算声嘶力竭，也没人听闻。”此言）自认政治文化才能可得认同 却未曾想始终仅为区区一匹玩物，无论上层，女性…众人所视仅仅区区“性能力”而已 待年迈色衰之时便如无味鸡肋弃之足底。
何其悲乎，曾以身体征服女性却也因此被所有女性视作游戏 片刻或一夜风花雪月之后便纷纷转身离去，无人相信“卡萨诺瓦”欲追求之真情，或许到最后他所追求的仅仅是那一份小小的理想，一份真诚的爱情，一位真正的朋友…可惜到最后“性交”成为了他表达爱恋或是真情唯一知晓的方式（因为他不曾用其他方式交往过）（从与木偶性交便可看出他仅知晓这唯一的方式）然而风流的生涯与情史却使所有女性都将他表达的真心与情感视作单纯的肉体渴望。却不知肉体不再，当年迈身躯终不再借助“性”这一跳板，高咏诗歌却受众人取笑之时，不知独坐书房之间等待死亡并活于记忆之中的孤单老人可曾为自己作为种马无爱的一生而感到悲伤……
2 ) ＂性＂斗士的悲惨人生
费里尼的又一部情色大作，主人公是在西方和“唐璜”齐名的“性斗士卡萨诺瓦”。老天赐给这哥们的天赋是超级强悍的性能力，他靠这个鬼混了一辈子，无奈晚景凄凉，最后爱上的是一个人工的机械美女，他用这种扭曲的爱了此残生。
惊叹于费里尼电影中的化妆道具构图以及场景设置，为了达到理想的效果，他不惜代价的用黑色的塑料布包裹了海洋。而在很多室内的镜头里，那种打光居然折射出伦勃朗油画的味道，令人惊叹无比。剧中出场人物众多，形象千奇百怪，似乎格列佛游记中的妖魔鬼怪全部涣然一新隆重登场。巨人、侏儒、色情狂、神经病、荒淫的贵族和下流的贫民，西方古典传说中的生旦净末逐一进入卡萨诺瓦的生命。这种历史题材是相当难以把握的片种，不过以费里尼的天才而言也不算什么。他热爱小丑与马戏的天性又给我们后人带来了一场视觉的狂欢，黑色幽默与超现实主义犹如哈哈镜一般，给这个传奇人物披上了荒诞醒神的外衣。
性能力是衡量一个男人的基本指数，在荒淫无度的古罗马，居然也可以成为进身之阶。片中卡萨君与车夫的做爱比赛令我爆笑，动物性的感官视觉永远都是人类不可或缺的精彩调料。那个总是在关键时刻蹦跳出来的机械小鸟，和着类似ＩＤＭ的电子音乐，在他每一次的做爱经历中充当着计时器的作用。一群人在瞠目结舌的看着他进进出出，动作粗犷有力，各种女人在他的压力下形神兼备地来着高潮。天黑或者性生活最好都闭眼，否则可能是引发一场噩梦的先导。
最后他老了，老了也就不存在什么最后了。机能衰退是人类必然的目的地，日子不重要，什么也不重要了。在滑稽的古堡里，这个曾经出过风头的“性斗士”只能用颤抖的声音，来索取他喜欢的通心粉。一个布满裂痕的瓷器，就等着“啪嚓”一声，然后远离这个希奇古怪的世界。
看诗人于坚在歌颂费里尼，认为写得相当精彩，我不如也。我从《甜蜜的生活》和《爱情神话》之后，就开始迷恋这个才华横溢的造梦者。他宽大的额头上铭刻着智慧的印记，他把人生和电影当成他纵情演绎的马戏团，用小丑般的高超技能，为全世界热爱电影的人们，奉献出多次的影象高潮。
惊叹于费里尼电影中的化妆道具构图以及场景设置，为了达到理想的效果，他不惜代价的用黑色的塑料布包裹了海洋。而在很多室内的镜头里，那种打光居然折射出伦勃朗油画的味道，令人惊叹无比。剧中出场人物众多，形象千奇百怪，似乎格列佛游记中的妖魔鬼怪全部涣然一新隆重登场。巨人、侏儒、色情狂、神经病、荒淫的贵族和下流的贫民，西方古典传说中的生旦净末逐一进入卡萨诺瓦的生命。这种历史题材是相当难以把握的片种，不过以费里尼的天才而言也不算什么。他热爱小丑与马戏的天性又给我们后人带来了一场视觉的狂欢，黑色幽默与超现实主义犹如哈哈镜一般，给这个传奇人物披上了荒诞醒神的外衣。
性能力是衡量一个男人的基本指数，在荒淫无度的古罗马，居然也可以成为进身之阶。片中卡萨君与车夫的做爱比赛令我爆笑，动物性的感官视觉永远都是人类不可或缺的精彩调料。那个总是在关键时刻蹦跳出来的机械小鸟，和着类似ＩＤＭ的电子音乐，在他每一次的做爱经历中充当着计时器的作用。一群人在瞠目结舌的看着他进进出出，动作粗犷有力，各种女人在他的压力下形神兼备地来着高潮。天黑或者性生活最好都闭眼，否则可能是引发一场噩梦的先导。
最后他老了，老了也就不存在什么最后了。机能衰退是人类必然的目的地，日子不重要，什么也不重要了。在滑稽的古堡里，这个曾经出过风头的“性斗士”只能用颤抖的声音，来索取他喜欢的通心粉。一个布满裂痕的瓷器，就等着“啪嚓”一声，然后远离这个希奇古怪的世界。
看诗人于坚在歌颂费里尼，认为写得相当精彩，我不如也。我从《甜蜜的生活》和《爱情神话》之后，就开始迷恋这个才华横溢的造梦者。他宽大的额头上铭刻着智慧的印记，他把人生和电影当成他纵情演绎的马戏团，用小丑般的高超技能，为全世界热爱电影的人们，奉献出多次的影象高潮。
3 ) 卡萨诺瓦
这是关于18世纪著名情圣卡萨诺瓦的传记片，舍弃了写实性，追求豪华的情调，带有一丝肃穆和哀伤。影片塑造了一个狡猾放荡、不知廉耻的花花公子形象，冷酷、低级、下流、狂妄，没有人的血性和情感，只追求性爱的发泄和兽欲的满足。卡萨诺瓦是当时意大利著名的冒险家和诗人，同时也是不折不扣的浪荡公子。影片涉及到性欲、无能等题材，自恋中不乏悲观主义，重点讲述卡萨诺瓦游历欧洲的的性冒险经历，呈现了他一段段放荡不羁的寻欢生涯，也描述了他凄苦的晚景。威尼斯著名的浪荡子，从伯爵夫人到禁欲修女，似乎每个女人都抵抗不了他的睿智和风流。终于，他的放荡行为触怒了宗教局，被捕之后险些处以绞刑...
4 ) 马戏团小丑的高潮
不愿意在看费里尼了。因为我在创作。
任何的表现方式都可以通往罗马。“条条道路通罗马”
找到最适合你的方式就好。
你只有五毛钱，就干五毛钱的事情。
每个人心中都有自己的上帝。
任何的表现方式都可以通往罗马。“条条道路通罗马”
找到最适合你的方式就好。
你只有五毛钱，就干五毛钱的事情。
每个人心中都有自己的上帝。
5 ) 肉体与政治
显然，卡萨瓦罗不是你理解的那种人。
作为欧洲最著名的浪子，窜行于贵妇、修女、千金小姐之间，是他的本能和本行。他可以与欧洲任何一个最有性能力的人比赛，他也因此四处被人嘲笑为“种马”。但是他一直希望别人称呼他为“哲学家”。他认为自己有杰出的政治才能，能够辅佐欧洲任何一位君主成就大事————只可惜的是，怀才不遇是他一生的宿命。
在一个心灵重于身体的时代，拥有身体是不幸的；而在一个重视身体的时代，拥有身体仍然是不幸的。这是因为，没有人会真正把身体放到“灵“之上。人们对于身体的要求即便是公开的，毫无顾忌的，但是也难掩对于“灵魂”失落的巨大恐惧。
在人们心中，卡萨瓦罗是一个倒错的人。他的身体征服了全欧洲的女性，但是他的灵魂却不能引起哪怕一个马夫的尊敬。贵族像对待角斗士一样看待他，把他当成一个“性斗士”，当成一匹马。贵族乐于提供最优渥的环境来供其享受，其目的也不外乎满足自己的感官刺激的需要而已。卡萨瓦罗，其最高的地位也不外乎是一个性能力和性技巧的表演家。
在影片的一开头，卡萨瓦罗赴修女之约，前往孤岛。当他得知这一切不过是为了满足鱼眼背后窥探的大使的欲望时，他仍然非常乐意。他愿意假此为晋身之计。在他看来，身体是一种资本，一种交际手段。这种手段可以让他俘获任何女人的芳心，那么也一定能打动当权者，由此及彼的意识到，如此强悍的身体之下是一个多么伟大的灵魂。但是——当卡萨瓦罗向大使陈情表态之际，大使却从鱼眼睛背后消失了。消失的如此干脆利落，以致于卡萨瓦罗来不及鞠躬道别。
这个开头就是卡萨瓦罗一身的命运。政治，对于男性而言，是灵。是永恒的灵的运转。是宏大叙事的一部分。这个体制可以完全不考虑身体，甚至完全排斥身体。所以直至卡萨瓦罗的晚年，这个体制仍然如此的嫌恶他，将这个自命不凡的老头看成是社会的异类，甚至败类。
卡萨瓦罗不是没有想到死。尤其是他在爱情幻灭，又在被一对母女欺骗之后（连女性都背叛了他）。但是他却被一个女巨人吸引，而存活了下来。他知道，自己的生命的燃烧没有终结，因为还有更强壮的女人没有被征服。这种对女性的征服是一种本能。本能，就是超出死亡的“超越性”的最大动力。这种本能可以让他发布女性优良于男人的言辞，但是这不过是因为，他希望他的力量确证的对象的力量反过来确证他自己的力量罢了。
卡萨瓦罗最后一个情人，也是最后他在死亡前回想的情人是一个机器木偶小姐。卡萨瓦罗终于找到了一个不会抛弃他的女人。那些贵妇在身体上被他征服，但是从来都是把他看成驾驭的对象。只有这个木偶，才是一个完全顺从他的人。木偶无情，却因为人的无情而变成了有情。
卡萨瓦罗在梦中回到了因犯罪而终身不敢回去故乡，威尼斯。这个欧洲的水都，这个欧洲最繁华的小城，这个有着梦幻色彩的，充满了各种稀奇古怪的风俗和人物的地域，给了卡萨瓦罗最终的安慰。
卡萨瓦罗不是你理解的那种人。因为他不愿承认自己被理解的事实。这个事实，固执在这个传说的心中，并将在许多人的身上延续下去————
PS：这片子在2005年有重拍版本——————稀烂+++
作为欧洲最著名的浪子，窜行于贵妇、修女、千金小姐之间，是他的本能和本行。他可以与欧洲任何一个最有性能力的人比赛，他也因此四处被人嘲笑为“种马”。但是他一直希望别人称呼他为“哲学家”。他认为自己有杰出的政治才能，能够辅佐欧洲任何一位君主成就大事————只可惜的是，怀才不遇是他一生的宿命。
在一个心灵重于身体的时代，拥有身体是不幸的；而在一个重视身体的时代，拥有身体仍然是不幸的。这是因为，没有人会真正把身体放到“灵“之上。人们对于身体的要求即便是公开的，毫无顾忌的，但是也难掩对于“灵魂”失落的巨大恐惧。
在人们心中，卡萨瓦罗是一个倒错的人。他的身体征服了全欧洲的女性，但是他的灵魂却不能引起哪怕一个马夫的尊敬。贵族像对待角斗士一样看待他，把他当成一个“性斗士”，当成一匹马。贵族乐于提供最优渥的环境来供其享受，其目的也不外乎满足自己的感官刺激的需要而已。卡萨瓦罗，其最高的地位也不外乎是一个性能力和性技巧的表演家。
在影片的一开头，卡萨瓦罗赴修女之约，前往孤岛。当他得知这一切不过是为了满足鱼眼背后窥探的大使的欲望时，他仍然非常乐意。他愿意假此为晋身之计。在他看来，身体是一种资本，一种交际手段。这种手段可以让他俘获任何女人的芳心，那么也一定能打动当权者，由此及彼的意识到，如此强悍的身体之下是一个多么伟大的灵魂。但是——当卡萨瓦罗向大使陈情表态之际，大使却从鱼眼睛背后消失了。消失的如此干脆利落，以致于卡萨瓦罗来不及鞠躬道别。
这个开头就是卡萨瓦罗一身的命运。政治，对于男性而言，是灵。是永恒的灵的运转。是宏大叙事的一部分。这个体制可以完全不考虑身体，甚至完全排斥身体。所以直至卡萨瓦罗的晚年，这个体制仍然如此的嫌恶他，将这个自命不凡的老头看成是社会的异类，甚至败类。
卡萨瓦罗不是没有想到死。尤其是他在爱情幻灭，又在被一对母女欺骗之后（连女性都背叛了他）。但是他却被一个女巨人吸引，而存活了下来。他知道，自己的生命的燃烧没有终结，因为还有更强壮的女人没有被征服。这种对女性的征服是一种本能。本能，就是超出死亡的“超越性”的最大动力。这种本能可以让他发布女性优良于男人的言辞，但是这不过是因为，他希望他的力量确证的对象的力量反过来确证他自己的力量罢了。
卡萨瓦罗最后一个情人，也是最后他在死亡前回想的情人是一个机器木偶小姐。卡萨瓦罗终于找到了一个不会抛弃他的女人。那些贵妇在身体上被他征服，但是从来都是把他看成驾驭的对象。只有这个木偶，才是一个完全顺从他的人。木偶无情，却因为人的无情而变成了有情。
卡萨瓦罗在梦中回到了因犯罪而终身不敢回去故乡，威尼斯。这个欧洲的水都，这个欧洲最繁华的小城，这个有着梦幻色彩的，充满了各种稀奇古怪的风俗和人物的地域，给了卡萨瓦罗最终的安慰。
卡萨瓦罗不是你理解的那种人。因为他不愿承认自己被理解的事实。这个事实，固执在这个传说的心中，并将在许多人的身上延续下去————
PS：这片子在2005年有重拍版本——————稀烂+++
6 ) 台词回顾
195
00:28:02,480 --> 00:28:06,314
What can I do if I am in love
with you, Annamaria ?
Your spiritual beauty attracts
the artist that is inside of me.
I would like to model you
like a wax statue,
like the statue
I thought you were.
I would be your pygmalion, I would
give vital breath to my creature
and would give you my life
with my own blood.
My own fire would burn
inside of you.
曼森与西王母 印度佛陀王子
237
00:34:30,920 --> 00:34:34,151
She, herself, was an expert
in necromancy.
-----
I am in contact
with the Queen of Saba.
Oh, how kind !
She has returned to us.
What is the water that does not
come from the rocks,
that does not fall from the sky,
that does not come from the earth ?
Answer, the sweat of a horse.
They are the enigmas of Salomon.
That is his answer to the queen.
We received the message.
Thank you.
245
00:35:16,800 --> 00:35:20,554
If you really believe
in these extra-human contacts,
246
00:35:20,640 --> 00:35:24,315
why do you not move inside the soul
of the Queen of Saba ?
She has soul deficiency,
as all women do.
The Council of Trento gave judgement
on this nonsense.
Women possess only two soul
qualities. Men have three.
Women lack the noble soul,
the immortal one.
But for a real woman,
even one soul is more than enough,
as long as it blends in with that
of a man, in perfect harmony,
with the fusion of their bodies.
========
She want us to hear the opinion
of her young niece, Edvige,
who is very learned in theology.
I was reading Saint Augustine,
which I found absurd.
I think I can disprove
some of his statements.
His theory on the mother
of the Savior.
Saint Augustine sustains that Mary
conceived Jesus through her ears.
- Do you doubt it ?
- Yes, for three reasons.
First: because God, since He is not
material substance,
needs no hole through which
to enter or exit.
Second: the hearing tubes do not
communicate with maternal alveolus.
Third: if the Virgin Mary
had conceived through her ears,
she should have given birth
through her ears, right ?
But in this case... Excuse me...
In this case,
the Catholics are right
in considering the Virgin,
a virgin before she conceived.
=============
338
00:44:14,480 --> 00:44:15,799
Selene.
Anubis.
Osiris.
Let us go beyond
the pleasures of the flesh.
Let us concentrate on melting
our souls together in perfect unison.
Scent of Venus !
Love is the source
and root of life.
Love generates both good and bad
impulses and passions.
Love generates the eternal flame,
both divine as well as human.
Love generates gods and demons.
352
00:45:40,280 --> 00:45:43,670
Giacomo, the hour of Venus has come.
I am yours.
May the great work be accomplished.
Wait.
I must first complete
my calculations.
I think we are still
in the hour of Mars.
只见高高晃晃车厢不见马轮
422
00:52:32,160 --> 00:52:35,470
We were invited to a concert
at the hunchback Du Bois' home.
He was an eccentric gentleman
with uncertain amorous boundaries,
just as uncertain were
the boundaries of the Parma dukedom,
divided between the Spanish
and the French.
That evening, two civilizations,
two opposite conceptions of life,
faced each other.
428
00:52:49,680 --> 00:52:53,150
An antique proverb says,
"What is lighter than a feather ?
Ashes.
And what is lighter than ashes ?
The wind.
And lighter than the wind ?
Woman.
And lighter than woman ?
Nothing."
437
00:53:10,840 --> 00:53:14,150
We exercise much power over women,
much tyranny,
and we made them accept it
only because
they are kinder,
more reasonable,
more generous than man.
Such qualities which should have made
them superior to us,
instead, put them at our mercy,
because men, in fact, are a hundred
times more unreasonable,
more cruel, violent.
They are more inclined
by nature, to oppress.
447
00:53:39,960 --> 00:53:44,238
Women's kisses are like a glass
of wine.
You drink and drink,
and drink... and then succumb.
449
00:53:47,760 --> 00:53:52,276
He who never speaks badly of women,
does not love them.
Because to understand them and love
them, you must suffer for them.
So then, and only then,
can you find happiness
on the lips of your beloved.
453
00:54:05,400 --> 00:54:10,190
A kiss is just the desire
of devouring what you kiss.
454
00:54:11,280 --> 00:54:15,432
I really think that Du Bois
has that sort of appetite !
455
00:54:16,880 --> 00:54:18,632
What is a kiss ?
Simply the desire to get lost
in the soul of the woman you love.
塔索,T.(Torquato Tasso 1544～1595) 意大利诗人,文艺复兴运动晚期的代表。出身富有文化教养的家庭
588
01:10:33,160 --> 01:10:35,754
I will go dressed
with my best attire,
the one I wear for festivities.
Soon I shall be ready
to enter into the antique courts
of antique men.
In the peace of Limbo,
they will welcome me.
I will meet Horace, Dante,
I will converse with Petrarch,
with Ariosto,
and with you, Torquato Tasso.
My tender friend whose verses
come to my mind
in this supreme moment.
========
6
00:00:49,280 --> 00:00:52,431
Egard ! How strange to meet you.
Maybe you can help me. Listen.
"When I am drunk, I know neither
the sky nor the earth.
I lie alone,
immobile in my bed.
Until, in the end,
I forget that I exist.
And at that moment
my happiness has no limits."
Lung-ho-Tse: a Chinese poet
of the Eighth Century.
You travel in lands
that do not exist, Egard.
Oh, Giacomo !
I travel much too,
but in the real world.
But where do your travels,
in the bodies of women, take you ?
No place.
Something strange happened to me.
Life, having nauseated me,
I wanted to kill myself.
谢君豪 Kwan-Ho Tse
Lung-ho-Tse 谢龙豪Ho Tse Ho 何子豪 Ho-tse Shen-hui (670-762 ce ) A Chinese Ch'an monk who is
historically credited with instigating the Northern-Southern School controversy唐代禅师荷泽神会(公元670年
—758年)，湖北襄阳人，俗姓高。。。。后来，神会在山东菏泽建寺，开创菏泽宗，他因此又叫菏泽神会。神会的禅法
称为“无念禅”，即他说的：“不作意即是无念”(《神会语录》第一残卷《与拓跋开府书》)，又说：“法无去来，前
后际断，故知无念为最上乘。”(《神会语录》，见《景德传灯录》卷28)不过，神会最重视的是知见解脱，主张定、慧
同等。神会的菏泽宗持续了150年，到唐末便衰竭了。狄龙/Lung Ti ………… Ho Tse Sung;
=============272
00:29:00,080 --> 00:29:02,674
My God, how beautiful you are.
Your gracious smile
is so descreet.
It is like those figures
on Etruscan tombs.
A merry and deathly smile.
Deathly ? Is that how you speak
to who saved you from death ?
Only to deliver me to another
sweet death, that of love.
I feel that I want to be annulled
inside of you, my wise Minerva.
What a strange man you are,
Giacomo.
You cannot talk about love
without using deathly figures ?
The sweetest of deaths. You want
to annul yourself in love...
Maybe there is more to love.
You wish to die ?
As late as possible,
enchanting Isabella.
When that moment comes, I want
to be able to squeeze your hand.
今天做的是POLENTA起司口味便利包(FORMAGGI是义大利文的"起司" ) 在义大利超市买了不少,说是贪图便利,倒不如说是
...台湾称作"玉米粥"or"玉米糕",在北义许多地区喜爱POLENTA 更甚Pasta!吃法更是千变万化
肉丝炒通心粉 fried macaroni with shredded meat 3. 番茄汁炒通心粉 fried macaroni with tomato
sauce...macaroni with butter 5. 鸡肉火腿炒通心粉 fried macaroni with chicken and ham
其中包括Icosameron之类的作品. 这些政治家们是需要一个擅长以文艺为其宣传的人, 所以这些作品并不是单纯的文学.
令卡萨诺瓦真正进入文学殿堂的作品非其自传《我的一生》(Histoire de ma vie)莫属, 籍着这部作品卡萨诺瓦达到了
文学上的...
治愈系代表作－－水星领航员(ARIA The SERIES)(ARIA
1749年卡萨诺瓦遇见了一生中与他有染的132个女人里, 唯一一个可以令他震撼, 寝食不安且甘愿为其抛弃性命的女人(
卡萨诺瓦自传语)－海丽特(Henriette), 一个为了逃婚而匿名游历的艾克斯普罗旺斯(Aix en Provence)女贵族, 在一次
音乐会上的中提琴演奏令卡萨诺瓦如痴如醉并深深的爱上了她. 虽然此后两人相处不过短短三个月的光景, 然而此后却
保持着长达廿年的通信联系.
1783年1月卡萨诺瓦离开了威尼斯前往维也纳, 这是因为威尼斯大使福斯卡里尼(Foscarini)邀请其担任秘书的工作. 在
不久后卡萨诺瓦又收到年轻的波希米亚伯爵华伦斯坦(Waldstein)邀请其担任达克斯城堡图书馆理员的工作. 就在卡萨诺
瓦来到达克斯不久之后, 德国戏剧家席勒把华伦斯坦伯爵作为悲剧男主角写进了他的剧作《华伦斯坦》当中.
Isabella没有来啊 ·······The script also highlights a number of other incidents from Casanova's
life, including his escape from a Venetian prison and his visit to a London Frost fair.
Fellini identities a film director with the demiurge of a Great Spectacle. "My films are not for
understanding. They are for seeing," Fellini reminds anyone who persists in undervaluing the aim of his
aesthetic orientation.
===
I'd like to ask you a question concerning the costumes you draw for your films, which sometimes are
particularly elegant, as if they were from a different era than ours. What does this mean?
In certain films like Satyricon or Casanova, the costumes of the era were necessary because the films
were historical. That's obvious. I have the habit of looking back to styles of the '20s and '30s, because
this unconscious reference goes back to an emotional reality when I discovered and noticed things.
Lights, colors, attitudes, moods, usages, rhythms belong to this emotional reality.
In addition, there is another fact. A person's clothes make up part of his character. I draw the
character with his costume. I suggest it to the stylists with my drawings; the drawings translate some of
my emotional impressions. For me elegance happens when there is a correspondence between a person's
personality and how she dresses herself Finally, don't forget that costumes, like dreams, are symbolic
communication. Dreams teach us that a language for everything exists — for every object, every color
worn, every clothing detail. Hence, costumes provide an aesthetic objectification that helps to tell the
character's story.
Nino Rota’s music is another delight, taken to a new level in Casanova, abandoning the typical jazzy
circus-music arrangements for a more melancholic and experimental score and an electronic music-box-like
arrangement for the clockwork mechanical bird which symbolises Casanova’s bedroom exertions.
Casanova is not one of Fellini’s best films. Like Satyricon, the subject itself is of little interest to
Fellini, who after La Dolce Vita had nothing more to say about Italian society and history other than
those areas that pertained to his own obsessions. Those films are of interest therefore for the
particular Fellini-esque slant he applies to them, but they never make the full connection that would
make Fellini’s Roma such a delight, and his lack of interest in those aspects that could not be filtered
through his own ego is evident particularly in Casanova.
-----
My personal dissatisfaction with the film however comes from the fact that I think he has tackled these
obsessions much better elsewhere and I don't find Casanova to be the best medium for them, much as I
don't find Giulietta Masina a good conduit for Fellini's personal obsessions in Giulietta degli Spiriti -
but that's just a personal view and another topic entirely.
----
Also, Sutherland's performance has been commented as being as great as Brandos in LAST TANGO IN PARIS
which would make sense considering both films deal with sexuality in an exploitative manner.
I'm not sure why you consider Fellini's displeasure for Casanova a flaw considering the output. You have
to have to look no further than the film title itself: IL CASANOVA DI FEDERICO FELLINI, which immediately
says all you need to know about what is to come.
花了个天晚上，终于把时长318分钟的《1900》给看完了，贝托鲁齐的片子总是那么经典，虽然之前看过的只有《末代皇
帝》和《戏梦巴黎》，一直想看《巴黎最后的探戈》，因为《1900》的制作成本主要是来源于《巴黎最后的探戈》在商
业上的成功，他拍的电影大多和历史变革相关的。这部片子拍于1976年，似乎那个时期欧洲也生产了很多较为纯粹的电
影。
里面有几个主要人物的演员应该是大家所熟知的，男一号罗伯特德尼罗（Robert De Niro）就不用说了，另一个男
一号居然是《你丫闭嘴》里的那个傻叉，名叫杰拉尔德帕迪约（Gérard Depardieu），反一号居然是唐纳德萨瑟兰
（Donald Sutherland），就是《大腕》里面的那个老头（最近还看了他新演的《傲慢与偏见》，也是不错的片子），
1976年的他们好年轻啊！比现在看起来要瘦得多，不是听人说我还真认不出来，只有杰拉尔德帕迪约的大鼻子和唐纳德
萨瑟兰的笑样让我感觉是在哪见过。罗伯特德尼罗在1976年还拍过《出租车司机》，继74年的《教父2》之后塑造又一个
经典。
如今，30年前那场关于《1900》（Novecento）的争论仿佛早已尘埃落定。那是冷战形势最严峻的时期，由于《巴黎最后
的探戈》在商业上的巨大成功，使得贝托鲁齐有能力制作一部大成本的史诗作品。他聘用了超豪华的cast，阵容包括
Robert De Niro、Gerard Depardieu、Burt Lancaster、Donald Sutherland、Sterling Hayden、Dominique Sanda、
Stefania Sandrelli以及Laura Betti，其中扮演老Berlinghieti的Burt Lancaster甚至没有收取任何片酬，因为他只想
看到贝托鲁齐是如何在监视器后工作的。
影片中Robert De Niro和Gerard Depardieu之间的友谊含有过于暧昧的同性恋意味，不乏有人将贝托鲁齐的影片视
为"gayness"，而贝托鲁齐却说："经过对弗洛伊德学说长达八年的研究后，我认为同性恋是不可调和的一对矛盾，它不
可能存在。"
除Robert De Niro和Gerard Depardieu这两位欧洲和美国最有前途的明星外，Donald Sutherland——这位中国影
迷熟悉的加拿大演员在影片中有堪称最为优异的表演，他扮演当地一个恶贯满盈的法西斯分子，纳粹倒台后被愤怒的村
民打死。本片是他在意大利所拍摄的三部电影中的第二部，之后他又主演了费里尼的《卡萨诺瓦》，同样令人印象深刻
。
故事发生在一个不知名的极权主义国家，没有交代具体时间，在一座因关押政治犯而臭名昭著的监狱里，狱警乔(范恩斯
饰)负责看守著名的政治犯，剧作家索恩（唐纳德·萨瑟兰 饰）。Land of the Blind
Sutherland's performance (certainly one of the most neglected performances he gave in the 70's) managed
to undercut the more over-bearing elements of Fellini's direction, and gave us a real character filled
with pain, fear and emotional contradiction. The pace and structure of the film and the idea of a central
character as a writer telling the story as it unfolds is reminiscent of La Dolce Vita, something that
other viewers and critics have pointed out elsewhere, with the idea that the two films are merely
different variations on the same story
00:28:02,480 --> 00:28:06,314
What can I do if I am in love
with you, Annamaria ?
Your spiritual beauty attracts
the artist that is inside of me.
I would like to model you
like a wax statue,
like the statue
I thought you were.
I would be your pygmalion, I would
give vital breath to my creature
and would give you my life
with my own blood.
My own fire would burn
inside of you.
曼森与西王母 印度佛陀王子
237
00:34:30,920 --> 00:34:34,151
She, herself, was an expert
in necromancy.
-----
I am in contact
with the Queen of Saba.
Oh, how kind !
She has returned to us.
What is the water that does not
come from the rocks,
that does not fall from the sky,
that does not come from the earth ?
Answer, the sweat of a horse.
They are the enigmas of Salomon.
That is his answer to the queen.
We received the message.
Thank you.
245
00:35:16,800 --> 00:35:20,554
If you really believe
in these extra-human contacts,
246
00:35:20,640 --> 00:35:24,315
why do you not move inside the soul
of the Queen of Saba ?
She has soul deficiency,
as all women do.
The Council of Trento gave judgement
on this nonsense.
Women possess only two soul
qualities. Men have three.
Women lack the noble soul,
the immortal one.
But for a real woman,
even one soul is more than enough,
as long as it blends in with that
of a man, in perfect harmony,
with the fusion of their bodies.
========
She want us to hear the opinion
of her young niece, Edvige,
who is very learned in theology.
I was reading Saint Augustine,
which I found absurd.
I think I can disprove
some of his statements.
His theory on the mother
of the Savior.
Saint Augustine sustains that Mary
conceived Jesus through her ears.
- Do you doubt it ?
- Yes, for three reasons.
First: because God, since He is not
material substance,
needs no hole through which
to enter or exit.
Second: the hearing tubes do not
communicate with maternal alveolus.
Third: if the Virgin Mary
had conceived through her ears,
she should have given birth
through her ears, right ?
But in this case... Excuse me...
In this case,
the Catholics are right
in considering the Virgin,
a virgin before she conceived.
=============
338
00:44:14,480 --> 00:44:15,799
Selene.
Anubis.
Osiris.
Let us go beyond
the pleasures of the flesh.
Let us concentrate on melting
our souls together in perfect unison.
Scent of Venus !
Love is the source
and root of life.
Love generates both good and bad
impulses and passions.
Love generates the eternal flame,
both divine as well as human.
Love generates gods and demons.
352
00:45:40,280 --> 00:45:43,670
Giacomo, the hour of Venus has come.
I am yours.
May the great work be accomplished.
Wait.
I must first complete
my calculations.
I think we are still
in the hour of Mars.
只见高高晃晃车厢不见马轮
422
00:52:32,160 --> 00:52:35,470
We were invited to a concert
at the hunchback Du Bois' home.
He was an eccentric gentleman
with uncertain amorous boundaries,
just as uncertain were
the boundaries of the Parma dukedom,
divided between the Spanish
and the French.
That evening, two civilizations,
two opposite conceptions of life,
faced each other.
428
00:52:49,680 --> 00:52:53,150
An antique proverb says,
"What is lighter than a feather ?
Ashes.
And what is lighter than ashes ?
The wind.
And lighter than the wind ?
Woman.
And lighter than woman ?
Nothing."
437
00:53:10,840 --> 00:53:14,150
We exercise much power over women,
much tyranny,
and we made them accept it
only because
they are kinder,
more reasonable,
more generous than man.
Such qualities which should have made
them superior to us,
instead, put them at our mercy,
because men, in fact, are a hundred
times more unreasonable,
more cruel, violent.
They are more inclined
by nature, to oppress.
447
00:53:39,960 --> 00:53:44,238
Women's kisses are like a glass
of wine.
You drink and drink,
and drink... and then succumb.
449
00:53:47,760 --> 00:53:52,276
He who never speaks badly of women,
does not love them.
Because to understand them and love
them, you must suffer for them.
So then, and only then,
can you find happiness
on the lips of your beloved.
453
00:54:05,400 --> 00:54:10,190
A kiss is just the desire
of devouring what you kiss.
454
00:54:11,280 --> 00:54:15,432
I really think that Du Bois
has that sort of appetite !
455
00:54:16,880 --> 00:54:18,632
What is a kiss ?
Simply the desire to get lost
in the soul of the woman you love.
塔索,T.(Torquato Tasso 1544～1595) 意大利诗人,文艺复兴运动晚期的代表。出身富有文化教养的家庭
588
01:10:33,160 --> 01:10:35,754
I will go dressed
with my best attire,
the one I wear for festivities.
Soon I shall be ready
to enter into the antique courts
of antique men.
In the peace of Limbo,
they will welcome me.
I will meet Horace, Dante,
I will converse with Petrarch,
with Ariosto,
and with you, Torquato Tasso.
My tender friend whose verses
come to my mind
in this supreme moment.
========
6
00:00:49,280 --> 00:00:52,431
Egard ! How strange to meet you.
Maybe you can help me. Listen.
"When I am drunk, I know neither
the sky nor the earth.
I lie alone,
immobile in my bed.
Until, in the end,
I forget that I exist.
And at that moment
my happiness has no limits."
Lung-ho-Tse: a Chinese poet
of the Eighth Century.
You travel in lands
that do not exist, Egard.
Oh, Giacomo !
I travel much too,
but in the real world.
But where do your travels,
in the bodies of women, take you ?
No place.
Something strange happened to me.
Life, having nauseated me,
I wanted to kill myself.
谢君豪 Kwan-Ho Tse
Lung-ho-Tse 谢龙豪Ho Tse Ho 何子豪 Ho-tse Shen-hui (670-762 ce ) A Chinese Ch'an monk who is
historically credited with instigating the Northern-Southern School controversy唐代禅师荷泽神会(公元670年
—758年)，湖北襄阳人，俗姓高。。。。后来，神会在山东菏泽建寺，开创菏泽宗，他因此又叫菏泽神会。神会的禅法
称为“无念禅”，即他说的：“不作意即是无念”(《神会语录》第一残卷《与拓跋开府书》)，又说：“法无去来，前
后际断，故知无念为最上乘。”(《神会语录》，见《景德传灯录》卷28)不过，神会最重视的是知见解脱，主张定、慧
同等。神会的菏泽宗持续了150年，到唐末便衰竭了。狄龙/Lung Ti ………… Ho Tse Sung;
=============272
00:29:00,080 --> 00:29:02,674
My God, how beautiful you are.
Your gracious smile
is so descreet.
It is like those figures
on Etruscan tombs.
A merry and deathly smile.
Deathly ? Is that how you speak
to who saved you from death ?
Only to deliver me to another
sweet death, that of love.
I feel that I want to be annulled
inside of you, my wise Minerva.
What a strange man you are,
Giacomo.
You cannot talk about love
without using deathly figures ?
The sweetest of deaths. You want
to annul yourself in love...
Maybe there is more to love.
You wish to die ?
As late as possible,
enchanting Isabella.
When that moment comes, I want
to be able to squeeze your hand.
今天做的是POLENTA起司口味便利包(FORMAGGI是义大利文的"起司" ) 在义大利超市买了不少,说是贪图便利,倒不如说是
...台湾称作"玉米粥"or"玉米糕",在北义许多地区喜爱POLENTA 更甚Pasta!吃法更是千变万化
肉丝炒通心粉 fried macaroni with shredded meat 3. 番茄汁炒通心粉 fried macaroni with tomato
sauce...macaroni with butter 5. 鸡肉火腿炒通心粉 fried macaroni with chicken and ham
其中包括Icosameron之类的作品. 这些政治家们是需要一个擅长以文艺为其宣传的人, 所以这些作品并不是单纯的文学.
令卡萨诺瓦真正进入文学殿堂的作品非其自传《我的一生》(Histoire de ma vie)莫属, 籍着这部作品卡萨诺瓦达到了
文学上的...
治愈系代表作－－水星领航员(ARIA The SERIES)(ARIA
1749年卡萨诺瓦遇见了一生中与他有染的132个女人里, 唯一一个可以令他震撼, 寝食不安且甘愿为其抛弃性命的女人(
卡萨诺瓦自传语)－海丽特(Henriette), 一个为了逃婚而匿名游历的艾克斯普罗旺斯(Aix en Provence)女贵族, 在一次
音乐会上的中提琴演奏令卡萨诺瓦如痴如醉并深深的爱上了她. 虽然此后两人相处不过短短三个月的光景, 然而此后却
保持着长达廿年的通信联系.
1783年1月卡萨诺瓦离开了威尼斯前往维也纳, 这是因为威尼斯大使福斯卡里尼(Foscarini)邀请其担任秘书的工作. 在
不久后卡萨诺瓦又收到年轻的波希米亚伯爵华伦斯坦(Waldstein)邀请其担任达克斯城堡图书馆理员的工作. 就在卡萨诺
瓦来到达克斯不久之后, 德国戏剧家席勒把华伦斯坦伯爵作为悲剧男主角写进了他的剧作《华伦斯坦》当中.
Isabella没有来啊 ·······The script also highlights a number of other incidents from Casanova's
life, including his escape from a Venetian prison and his visit to a London Frost fair.
Fellini identities a film director with the demiurge of a Great Spectacle. "My films are not for
understanding. They are for seeing," Fellini reminds anyone who persists in undervaluing the aim of his
aesthetic orientation.
===
I'd like to ask you a question concerning the costumes you draw for your films, which sometimes are
particularly elegant, as if they were from a different era than ours. What does this mean?
In certain films like Satyricon or Casanova, the costumes of the era were necessary because the films
were historical. That's obvious. I have the habit of looking back to styles of the '20s and '30s, because
this unconscious reference goes back to an emotional reality when I discovered and noticed things.
Lights, colors, attitudes, moods, usages, rhythms belong to this emotional reality.
In addition, there is another fact. A person's clothes make up part of his character. I draw the
character with his costume. I suggest it to the stylists with my drawings; the drawings translate some of
my emotional impressions. For me elegance happens when there is a correspondence between a person's
personality and how she dresses herself Finally, don't forget that costumes, like dreams, are symbolic
communication. Dreams teach us that a language for everything exists — for every object, every color
worn, every clothing detail. Hence, costumes provide an aesthetic objectification that helps to tell the
character's story.
Nino Rota’s music is another delight, taken to a new level in Casanova, abandoning the typical jazzy
circus-music arrangements for a more melancholic and experimental score and an electronic music-box-like
arrangement for the clockwork mechanical bird which symbolises Casanova’s bedroom exertions.
Casanova is not one of Fellini’s best films. Like Satyricon, the subject itself is of little interest to
Fellini, who after La Dolce Vita had nothing more to say about Italian society and history other than
those areas that pertained to his own obsessions. Those films are of interest therefore for the
particular Fellini-esque slant he applies to them, but they never make the full connection that would
make Fellini’s Roma such a delight, and his lack of interest in those aspects that could not be filtered
through his own ego is evident particularly in Casanova.
-----
My personal dissatisfaction with the film however comes from the fact that I think he has tackled these
obsessions much better elsewhere and I don't find Casanova to be the best medium for them, much as I
don't find Giulietta Masina a good conduit for Fellini's personal obsessions in Giulietta degli Spiriti -
but that's just a personal view and another topic entirely.
----
Also, Sutherland's performance has been commented as being as great as Brandos in LAST TANGO IN PARIS
which would make sense considering both films deal with sexuality in an exploitative manner.
I'm not sure why you consider Fellini's displeasure for Casanova a flaw considering the output. You have
to have to look no further than the film title itself: IL CASANOVA DI FEDERICO FELLINI, which immediately
says all you need to know about what is to come.
花了个天晚上，终于把时长318分钟的《1900》给看完了，贝托鲁齐的片子总是那么经典，虽然之前看过的只有《末代皇
帝》和《戏梦巴黎》，一直想看《巴黎最后的探戈》，因为《1900》的制作成本主要是来源于《巴黎最后的探戈》在商
业上的成功，他拍的电影大多和历史变革相关的。这部片子拍于1976年，似乎那个时期欧洲也生产了很多较为纯粹的电
影。
里面有几个主要人物的演员应该是大家所熟知的，男一号罗伯特德尼罗（Robert De Niro）就不用说了，另一个男
一号居然是《你丫闭嘴》里的那个傻叉，名叫杰拉尔德帕迪约（Gérard Depardieu），反一号居然是唐纳德萨瑟兰
（Donald Sutherland），就是《大腕》里面的那个老头（最近还看了他新演的《傲慢与偏见》，也是不错的片子），
1976年的他们好年轻啊！比现在看起来要瘦得多，不是听人说我还真认不出来，只有杰拉尔德帕迪约的大鼻子和唐纳德
萨瑟兰的笑样让我感觉是在哪见过。罗伯特德尼罗在1976年还拍过《出租车司机》，继74年的《教父2》之后塑造又一个
经典。
如今，30年前那场关于《1900》（Novecento）的争论仿佛早已尘埃落定。那是冷战形势最严峻的时期，由于《巴黎最后
的探戈》在商业上的巨大成功，使得贝托鲁齐有能力制作一部大成本的史诗作品。他聘用了超豪华的cast，阵容包括
Robert De Niro、Gerard Depardieu、Burt Lancaster、Donald Sutherland、Sterling Hayden、Dominique Sanda、
Stefania Sandrelli以及Laura Betti，其中扮演老Berlinghieti的Burt Lancaster甚至没有收取任何片酬，因为他只想
看到贝托鲁齐是如何在监视器后工作的。
影片中Robert De Niro和Gerard Depardieu之间的友谊含有过于暧昧的同性恋意味，不乏有人将贝托鲁齐的影片视
为"gayness"，而贝托鲁齐却说："经过对弗洛伊德学说长达八年的研究后，我认为同性恋是不可调和的一对矛盾，它不
可能存在。"
除Robert De Niro和Gerard Depardieu这两位欧洲和美国最有前途的明星外，Donald Sutherland——这位中国影
迷熟悉的加拿大演员在影片中有堪称最为优异的表演，他扮演当地一个恶贯满盈的法西斯分子，纳粹倒台后被愤怒的村
民打死。本片是他在意大利所拍摄的三部电影中的第二部，之后他又主演了费里尼的《卡萨诺瓦》，同样令人印象深刻
。
故事发生在一个不知名的极权主义国家，没有交代具体时间，在一座因关押政治犯而臭名昭著的监狱里，狱警乔(范恩斯
饰)负责看守著名的政治犯，剧作家索恩（唐纳德·萨瑟兰 饰）。Land of the Blind
Sutherland's performance (certainly one of the most neglected performances he gave in the 70's) managed
to undercut the more over-bearing elements of Fellini's direction, and gave us a real character filled
with pain, fear and emotional contradiction. The pace and structure of the film and the idea of a central
character as a writer telling the story as it unfolds is reminiscent of La Dolce Vita, something that
other viewers and critics have pointed out elsewhere, with the idea that the two films are merely
different variations on the same story
7 ) 爱情不是一个神话
1）一个人的荒淫性史 一个人是不会莫名其妙地就开始他的淫乱史的，说这话是要有根据的。第一是要有丰富而根基扎实的历史作为参照背景，影片《卡萨诺瓦》的根据和历史就是现实存在的卡萨诺瓦，一个风流成性的快活家伙。第二是必备的风流条件，也就是说这个人无论从长相、家庭环境和个人素质上来说都超越了女人挑剔的心理标准。这样才能成为一个大众情人。现实中的卡萨诺瓦成功地逾越了这个困难点，以他丰富的性经历使我们完全相信他的美貌所带给他的好运，这点上不再赘言。 然而电影中的卡萨诺瓦显然不是那么好看。瘦削，是他给我的第一个印象。一个荒淫无度的人，是以这样的形象尴尬出场的，从而让人对他的精力质疑。他的瘦，衬托出他高耸的颧骨，圆而高扩的额头，让人联想不到“性斗士”的高昂与激情，反而是有点弱不禁风的感觉。这可能是审美意识不同，虽然费里尼在古装剧上尽力翻版以前卡萨诺瓦给人的印象，虽然他的这部作品是奢靡而繁华的，但是，在人物的选择上，他的确是选错了。一个男人要性感才能得到女人的认同和青睐，不能让一个瘦精精的男人随便来作戏，敷衍了事。更大的问题是，这个男人不但没有性感，连长相都让人有不敢恭维。 第二个问题，卡萨诺瓦做爱假动作。虽然这是部艺术片，不涉及情色，但是在“做爱”这个问题上，导演却又在耍花招。明明一点都不像，就不要虚张声势地拍出来，既然要拍出来给大家看，那就拍得让观众信服。在片子中，大情圣的动作极为夸张和不协调，这是影片的又一缺憾。 一个人要荒淫是可以的。但是一个时代就不行。年老的费里尼在恍惚中幻想着这些精美、大胆、带有刺激挑逗的画面时，他一定没有多想这部片子的深远意义。这部片子其实是告诉我们：一个人的性史也会为他留名！人们在看这部片子时，尽情地观看着人类自身最丑陋，庸俗不堪的部分的同时，还忘却了现实中的卡萨诺瓦，他不仅仅依靠他的风流，也得益于他的文学造诣才得以留名。 2）木偶伊莎贝拉，情欲化身 这是另一个关于女人的故事。一个叫伊沙贝拉的女人，其实是个木偶。而木偶的隐喻恰恰是女人。 一个木偶怎样过它的一生。或许它从来没有一生的说法。它只具备使用和被使用的权利。 木偶没有性欲，却遇到性欲旺盛的情人。木偶和人做爱这本身就充斥着生活的荒谬和现实的荒谬。木偶生硬的动作，晦涩的眼神，不到位的形体，这都给伊莎贝拉的难度。这个难度却是无法逾越的。 但是，就是这个女人最终得到了全世界女人都梦寐以求的男人。一个“性”的斗士，没有爱情的人，只能面对木头倾诉衷肠。爱情不是神话，但是许多人把它当成了神话。在神话的面前只有选择退缩与逃避，在这个片子里，爱情是存在的。只不过它用错了地方。 影片最后的结尾是这样的：当卡萨诺瓦进入神色衰竭的老年期，满脸皱纹地回忆起他曾经拥有的风光时，只看到许多曾经过往的女人们从桥下走过，然后一列金碧辉煌的马车经过，里面的人向他招手，然后他继续前进，看到他的爱人---木偶伊莎贝拉---也站在桥下，此时他仿佛看到年轻的自己走过去，拥着相爱的人在冰雪覆盖的水面上温柔而彬彬有礼地跳起了舞蹈，作为最后残存的可怜爱恋，作为人们不再相信这个糟老头子就是当年在民间被人传诵的性斗士时，他以这样结尾结束了自己的辉煌而腐朽的一生。
#费里尼影展# 场景奢华，喜欢歌舞和短剧的段落和对于影子的运用，末尾朗诵诗歌遭嘲笑和木偶的段落颇有批判性。可对照看今年另一部讲卡萨诺瓦的新片：西班牙导演Albert Serra的《我的死亡记事》。
他需要的是一个朋友而不是女人。。。
费里尼对卡萨诺瓦的批判不是对他个人的批判，而是要通过这个败类的一生引起人们的思考和联想，他的矛头绝非只是一个卡萨诺瓦，而是像这个角色一样的一些人和以他们为主构成的那个社会。
卡萨诺瓦欧陆猎艳史，千万注意不能和家人一同观看。男主长得太像杰克·鲍尔，一查居然真是鲍小强的父亲，爷俩简直一个模子刻出来的。我也着实想理解些人物内在的悲哀，但看到的和记住的全是荒淫交媾，以及那每次随之上下起舞的金属鸟和电子乐，一遍又一遍，一遍又一遍。
费里尼对卡萨诺瓦这个人物的情感投射逐渐变化的体现 放荡 虚弱 可怜 最后给予了他一个机械化身的假梦结尾 男性符号作用在不断消解 整个时代的洞穴影子也在不停逝去 他既是 stallion 也是个形而上的 guru p.s. 除了无主之作 卡萨诺瓦自然也有我村提及 还有什么黑炮事件 尼基与弗洛 以及 the eyes of a masturbator 这算不算太黑唐纳德了 2333
"大腕"主演的费式卡萨诺瓦，依旧马戏的感觉，电影以一种玩戏式的方式表现了许多的性爱场景，这在情色横行的70年代，估计普通观众看了肯定要大骂，呵呵。老费到底还是那个看马戏团里表演的老费啊。
我就说嘛，看05版傲慢与偏见的时候，觉得那位老爹怎么那么眼熟。查来查去，虽然找到几部我看过他参演的电影，但总觉得跟我那个模糊又清晰的印象合不上。总算在这里找到了，敢情lizzie她爹就是Fellini手下的Casanova!
现代比古代寂寞多了——费里尼的古装剧都是拍给现代人看的荒诞剧。现代社会里那种骄奢淫逸的纵欲主义氛围全部由《卡萨诺瓦》头顶上那面“风月宝鉴”真实地反映了出来，照木心的说法——性欲是裸体的，爱情是穿衣裳的。从主题上来看，这部彰显古典形式主义美学的“时装”大戏的确是《甜蜜的生活》在十八世纪的演绎。影片借着男主角的游历嘲讽了那些过着卡萨诺瓦式生活的现代人——以性能力征服世界的人。尽管费里尼赐予主人公一个极富漫画感的相貌，然而他却实实在在代表了现代人的形象——就像他身边的那只机械鸟一样。我们在其漂泊的一生中再也看不到“人”的踪影，因为他所遇见的人不是形形色色的小丑就是没有情感的木偶。更为荒诞和可笑的是，这些没有灵魂的人物却都在追求一种形而上的情爱——这无疑是“上帝”对他们丧失检视和自省能力的严厉惩罚。
这部费里尼以前没看过哦 意思不大 尺度不小 有性无爱还造什么爱 纵欲者真可怜 连造爱这么重要的人生乐趣都失去了 某种意义上也是阉割了自己 （今天发太多广播了 快过年了摸鱼过度 过于悠闲 明天可得收收心了……
著名的威尼斯冒险家，人们只记住了他雄壮的摇晃，他遍游欧洲，所到之处群花为之绽放，他丢掉了欲望之外的才华，成了一具简单的机器，只能与木偶继续最后的放纵，当年华老去，无尽的侮辱之后，剩下了空洞的悲凉，全片腐朽之气极盛，已是费里尼的癫峰。
9/10。阴茎状的机械鸟象征卡萨诺瓦就是个只求欲望的机械人，每逢他做爱这只鸟会上下转动模拟人的动作，鼓风机制造的塑料海波涛汹涌，不了解爱情的卡萨诺瓦在苦海中漂泊一生，结尾冰上伴舞的机械玩偶成了这位性爱机械人最理想的归宿。费里尼多次强调一条谐音为阴户的鲸鱼，卡萨诺瓦由于性能力被女人嘲笑（赶下马车的查柏林母女）企图自杀，跟随大群男子走入鲸鱼肚子（阴户）得到救赎，鱼肚里几幅魔灯投射的图案把女人性器官描绘成卷走男人的漩涡！费里尼对男人以征服者自居的玩笑还不限于此，卡萨诺瓦与修女的禁忌关系被宛如镜面的鱼眼偷窥到，杜拉斯想通过与之性交来投胎做男人，他曾与全剧团的女人动感狂快地性交，也受到消失于迷雾的女巨人爱的压迫....犹如扮演昆虫的短剧表演，声称愿为爱人与整个欧洲军队宣战的情圣，最终沦为了供人取笑的哭泣小丑。
美术极好，置景构图精致，想象力惊人。结尾好悲凉，怅惘无尽，回想一下，费里尼的电影，结尾拍得都好。这么多的性，却没有一丁点爱。堪称十八世纪版《甜蜜的生活》。但费里尼对于讲述卡萨诺瓦的故事缺乏激情，某种程度上，费里尼和他电影里的贵族一样，视卡萨诺瓦为玩偶，于是对主角欲望与孤独的表现，只能是浮于表面、套入荣格式模板又以失控癫狂形饰虚无，难以复制《甜蜜的生活》的感染力和深度。就像塑料布海洋很有想法，但毕竟只是塑料布。费里尼最应该去拍的是《十日谈》和《巨人传》。
费里尼敞开了拍，丁度·巴拉斯都是浮云啊；一段经历就是一场梦，梦与梦之间不需要关联；杂耍艺人的镜头少不了，舞会之后的散场太寂寥；女巨人泡在浴桶中，吟唱着悲伤的思乡之歌，留下一滴眼泪；那场“竞赛”的出产地应该是[甜蜜的生活]
万花丛中穿过，谁想机械力学才是残余的温暖。《甜蜜的生活》移至古时，留下了一派糜烂放纵，也勾出了一种落寞空虚，但就是缺乏那种发光的魅力。本来挺帅的唐纳德·萨瑟兰，在片中造型古怪得仿佛科洛·塞维尼加冯远征。但费里尼真是再次发挥得汪洋恣肆，无数精巧的布设与思量，都很能让人惊呼，也能感应到自在创作的快感，这比作品本身更迷人。三星半。
人物丑，情节荒诞夸张，刻意追求美术置景不真实。单取中间好多幕，都是浓烈的油画感，更有狂放不羁肆意泼洒。有曰：一夜七次，不敌时间流逝。又曰：能力再好，机械最高。
casanova每次那啥之前会先打开一个盒子，里面一只鸟翻飞上下，电子乐笛笛笃笃的。太色情了，“性爱比赛”神马的……最终精尽人亡的时候，爱上一个无欲无求的女机械人。华丽的欲望，荒凉到底。
9.5分。这才是费里尼后期的绝对代表。拿掉墨镜的费里尼完全释放自己的才华，完成了这出“灵与肉”巨作，在满溢的肉欲之下掩藏的是最深的孤独与恐惧。我将其视作男版的《卡比利亚之夜》，两者都在不断追求精神上的爱情，却一直被抛弃，区别是这个结局更为深刻与悲惨。
情色片的顶峰，即使全片没有任何裸露镜头。看完之后《索多玛120天》《卡尼古拉》简直是小儿科，虽然后两者感官上更加昭然，与《卡萨诺瓦》相比简直没有讲到点子上。豆瓣整体才7.2分，太underrated了。
费里尼式情色，丰乳肥臀与古怪癫狂大杂烩。大师的性幻想脑洞大到出奇。
避无可避的消逝&狂欢后的孤寞。1.最美头尾:片首波光粼粼的固定长镜,映照出欢宴景致的湖面，尾声致敬雷诺阿[金马车]+夜晚威尼斯的空寂广场,卡萨诺瓦与人偶相拥,缓缓转圈。2.在黑色塑料布海洋上划船。3.银色内室与舞动的金属鸟。4.修女与护士的黑白双项。5.紫色云雨,性爱比赛,大力士女巨人。（9.0/10）