Destiny of Sex-Idealist With A Pure Soul and A Sensitive Heart


Casanova’s sexual art


Casanova’s magic transforms doll into a woman


Burlesque representation of sado-masochistic aspect of homosexual love

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The public ritual of celebrating (and exorcizing) the frightening (to men’s psyche) aspects of femininity and vagina

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Casanova full of youth and libido

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Casanova remembering and recreating his life

Mechanical bird symbolizing man’s sexual prowess
Casanova’s magic box (the mechanical bird symbolizing the irresistibility of man’s organ of love) is a permanent companion and associate of his adventures and challenges.

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Action and perspiration of love starts with exhibitionistic prelude.

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Hard work (and the ability for it) is inevitable part of any achievement.

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The living (temporarily dead) monument of Casanova’s supreme (yet habitual) achievement

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Pope is unexpected beneficiary of Casanova’s craft and art.

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We all are prone to give ourselves to the moments of bragging.

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Deeply moved by the possibility, Casanova is ready for an arm-wrestling match with a woman. Her impresario (the man on the left) in profile looks like Yul Brynner (perhaps, Fellini wanted to jokingly emphasize the overwhelming nobility of Casanova over the screen personality of Yul Brynner and the power of Donald Sutherland’s charismatic aura over Western’s much more provincial idea of male charisma).

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Masterful, but aesthetically pompous burlesque representation of sado-masochistic aspect of homosexual love made Casanova impressed but disagreeing.

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Her majesty, the sexual doll has inspired Casanova as a master-creator of women, as a heterosexual magician and as a scientist and a professor of amorous sexuality.

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Chivalry and courteousness are part of the very taste for sexual love and effective pedagogy of woman’s sexual inspiration and excitement even when she is a doll.

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Even Donald Sutherland who as an actor impersonates in Fellini’s “Casanova” the particularities of male sexuality with such a colorful emotional profundity cannot approach femininity without Fellini‘s directorial advice.

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Dollness of women Casanova addresses with his magic bird. And as this bird is becoming alive in the process of its use, the doll in woman becomes more and more animated the closer the situation gets to the orgasmic transubstantiation.

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Like in fairytales love transforms the frog into a prince or maid into a princess, Casanova’s ability to transform a doll into a woman is a version of the myth about the noble irresistibility of masculine heterosexuality. Man’s tenderness triggers a woman’s gratitude like rain – the growth of the verdure.

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But the hierarchical nature of earthly life (with its endless levels of power) makes men to try to dominate in the same moments they love. When love is achieved and realized, the woman can find herself again in a position of a doll after all flames of Casanova’s love.

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The romance between Casanova and the doll signifies the impossibility to overcome the “mechanical” – bodily nature of human love. Casanova, according to the film, was wise enough (and scientific enough) not to resist it, and his achievements and the legend connected with this wisdom is what makes him one of our fathers, a precursor of sexual modernity.

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Federico Fellini and Donald Sutherland after finishing the difficult project of making “Casanova” – simultaneously, the romantic and humorous and a satirical film, showing to us ourselves in a sublimated form. Most of the people who lived then and live today are morally and aesthetically much worse than Casanova. It is the best among us who are as ridiculous as he who is trying to build his positive identity amidst wars, hate, brutality, stupidity and loutishness.

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Fellini is a great de-constructor of ideals, not their destroyer. With his help we understand better our pompous and shaky ideals. Following his cinematic conducting we laugh at our attempts to be above ourselves. Obedient to laws of life – the lucky occasion of our birth into life, we continue to create and follow our moral astronomy amidst our bodily routines. Donald Sutherland-Casanova idealizes women by being simultaneously the knight, scientist and engineer of physical intercourse with the beautiful gender. In him, according to Fellini’s concept, oppositions and contrasts fruitfully coexist, in agreement with the general taste of the historical period of his first, pre-Felliniesque, incarnation (1725 – 1798), when he dignified us, alive ones, with his presence.

As a romantic and a tireless lover he is the creator of libidinous eternity. He is a sexual athlete and the gentlest soul in the world. He is intercourser and masturbator. He is a mystic of the flesh. He is an intellectual, and he is the common guy. He is aristocratic and too human. He is a universal man and an amazingly unique personality. Fellini admires him and feels compassion toward him, respects him and laughs at him.

For Fellini’s Casanova love is love, and sex is sex, as for all human beings combining body and soul in a relative unity of human personality. Casanova-Sutherland is able to perform them together in love celebrating his humanness and his well incarnated (existential) spirituality.

Fellini’s idea of Casanova as a sexual artist is an idea of a potential present in every man – our sexual nature cannot completely sublimate “making love”. Like human body has a skeleton covered by multiplicity of tissues, sexual intercourse has a not reducible mechanical element which cannot be dissolved in sensations, feelings and orgasmic bliss. We are helpless in front of our members and limbs, our sweat and odor, so, why not to try to make the best of it in our symphony of amorous mutuality? It is from here the magic machine comes – the metal bird that Casanova turns on while preparing for triumph of sexual love. And it’s from here comes the sexual doll at the end of the film – Casanova’s last love, the apotheosis of his sexual destiny, the culmination of his eroticism.

We, sexual creatures, are always, a little bit of monsters, but comparing Casanova with the more typical inhabitants of post-Medieval Europe, we see that he is always ahead of European courts, aristocracy and people surviving on the periphery of social hierarchy. He is always more intelligent, more educated, more human and more humane than his and our contemporaries.

Fellini’s film helps us to recognize ourselves in our historical past and recognize our boasting modernity and shaking post-modernity in post-renaissance life in its pluralism of tragic and comic, idealistic and senile, smart and stupid manifestations. Fellini not only tells the truth about the sexual Casanova inside us, but restores him as a universal and historical (extro-sexual) personality.

Posted on Mar 7 2015 –   “Casanova” (1976) by Federico Fellini by Acting-Out Politics