Il Casanova di Federico Fellini is a 1976 Italian film by director Federico Fellini, adapted from the autobiography of Giacomo Casanova, the 18th century adventurer and writer. The film won an Academy Award for Best Costume Design, The film is noted for its symbolic, highly stylised mise en scène and the casting of Donald Sutherland in the lead role. By using a range of visual effects, Fellini attempted to depict Casanova as a debauched figure incapable of displaying any genuine emotion. This Felliniesque style is most noticeable in Sutherland's acting and appearance, which was made overtly graphic at the director's request. Fellini's interpretation goes against the traditional notion of Casanova as an enlightened gadabout Nino Rota's last, and probably most unusual film score. Through the use of unusual instruments (vibraphone, harp and harpsichord, among others) he creates an exotic score. This is an elegant final work, not often heard, aptly befitting to the period, it marries Fellini's images with perfection. For this soundtrack Nino Rota won two Nastri D'Argento and one David di Donatello. Il Casanova di Fedrico Fellini is one of the 30 titles from the Sugar's collection dedicated to the soundtracks that have made the history of film music. The collection will be released on March 13rd in a completely remastered version and with a new look edition. All the title of the series have been enriched with a text by Marco Muller, movie producer, critic and director of the most important film festival. He affirms: Cinema is the place where music becomes something different, carving for itself a specific role within a whole where it is as important as visual composition, editing , time and movement. Without music cinema would lose one essential element of its nature. Whenever important musicians have worked with important film-directors their strong individual personalities have always struck a balance where great music made a great film stronger and vice versa. These adventurous stories of Italian (and not only Italian) cinema are the subject of this well-thought re-proposition of the CAM catalogue. A selection of its greatest titles offering the opportunity to divert from a concert program of modernist music, or an alternative to light pop, to venture into a new continent just waiting to be (re-)discovered. |
