In the film, as he did in real life, Casanova moves through parlor flirtations and bedroom games with nobles well-versed in this sort of affair: the casual romances of a time when one married for social position rather than love or sex. The film has an eerie quality, as if shot just before dawn, creating the ambience of a never-ending after-party-the effect of coming down while trying to come. It is understandable that he became a myth, because he is a meaningless universality.”įellini's harsh read is apparent in his direction of Sutherland, who sluggishly plays the role of the alienated party boy, the fuckboy of the Enlightenment who thinks of himself as a poet and scholar yet is too driven by the immediate ego gratification of sex and money to ascend, either intellectually or emotionally. He is a stereotype-‘the Italian’-vague, undifferentiated, commonplace, conventional a facade, an attitude. He roamed the world, and it is as if he never moved from his bed. nothing! Nothing of nature, animals, children, trees no descriptions of the moments of a day. In a 1977 interview in the New York Times, Fellini said: “There is nothing in ‘Memoirs’. He was always perfectly dressed and always present at court, falsely declaring himself to be a count or an alchemist and philosopher, depending on the situation. Born to actor parents, he became famous for climbing the echelons of European high society, successfully associating with royalty, popes, cardinals and artists like Mozart, Voltaire, and Goethe. Fellini made no qualms about his feelings of disdain for the real-life Casanova, an Italian adventurer, memoirist, and notorious libertine.
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