Caligula 1979 The Imperial Edition Uncut Emeralds

Running time 156 minutes Country Italy United States Language English Italian Budget $17.5 million Box office $23 million Caligula (Italian: Caligola) is a 1979 Italian-American film focusing on the rise and fall of the Roman Emperor. It stars,,,, and.

It is the only feature film produced by the men's magazine. Producer, the magazine's founder, intended to produce an explicit with a feature film narrative and high production values.

He also cast as extras in filmed during post-production by himself and Giancarlo Lui. Guccione hired screenwriter to draft the film's script and to direct the film. Brass extensively altered Vidal's original screenplay, leading Vidal to disavow the film. The final screenplay focuses on the idea that 'absolute power corrupts absolutely'.

Nov 13, 2011. Roman Imperatorial, Imperial & (All. Byzantine World. Thurlow-Vecchi 94a (this coin, plate 45); Haeberlin pi 103, 10 VF, emerald green over brown patina ($500). O b v e r s e o f L o t 75. Fine, brown patina, rough surfaces, edge chip ($300) Ex Birkler- Waddell I (1979), lot 236. Directed by Tinto Brass. With Malcolm McDowell, Teresa Ann Savoy, Guido Mannari. Details the graphic and shocking, yet undeniably tragic story of Rome's most infamous Caesar, Gaius Germanicus Caligula. Visit IMDb for Photos, Showtimes, Cast, Crew, Reviews, Plot Summary, Comments, Discussions, Taglines, Trailers.

Brass and Vidal disagreed over Guccione's use of unsimulated sexual content, which Brass refused to film. Because the producers did not allow Brass to edit the film, they changed its tone and style significantly and added hardcore sex scenes not filmed by Brass, thus turning Caligula into a pornographic drama that disregarded the director's intentions to present the film as a. As a result, Brass also disavowed the film. Caligula 's release was controversial; it was met with legal issues and controversies over its violent and sexual content. Its uncut form remains banned in several countries.

Although reviews were overwhelmingly negative (though McDowell's performance as the title character and O'Toole's performance as Tiberius were praised), Caligula is considered to be a and its political content was considered to have significant merit. The script was later adapted into a written by, working under the pseudonym William Howard. Contents • • • • • • • • • • • • • • • • • • • Plot [ ] Caligula is the young heir to the throne of his, the -ridden, half-mad Emperor. One morning, a blackbird flies into his room; Caligula considers this a bad omen. Shortly afterward, the head of the, tells Caligula that Tiberius demands his immediate presence at, where the Emperor lives with his close friend, a dim-witted relative, and Caligula's younger stepbrother. Fearing assassination, Caligula is afraid to leave but his sister and lover persuades him to go. At Capri, Caligula finds that Tiberius has become depraved, showing signs of advanced, and embittered with Rome and politics.

Tiberius enjoys swimming with naked youths and watching degrading that often include children and deformed people. Caligula observes with fascination and horror. Tensions rise when Tiberius tries to poison Caligula in front of Gemellus.

Nerva commits suicide and Caligula tries to kill Tiberius but loses his nerve. Proving his loyalty to Caligula, Macro kills Tiberius instead with Gemellus as a witness. After Tiberius' burial, Caligula is proclaimed the new Emperor, then proclaims Drusilla as his equal, to the apparent disgust of the. Drusilla, fearful of Macro's influence, persuades Caligula to get rid of him. Caligula sets up a in which Gemellus is intimidated into testifying that Macro murdered Tiberius alone, then has Macro's wife banished from Rome.

After Macro is executed in a gruesome, Caligula appoints Tiberius' former adviser Longinus as his personal assistant while pronouncing the docile Senator as the new head of the Praetorian Guard. Drusilla tries to find Caligula a wife among the priestesses of the goddess, the cult they secretly practice. Caligula wants to marry Drusilla, but she insists they cannot marry because she is his sister. Instead, Caligula marries, a priestess and notorious after she bears him an heir.

Drusilla reluctantly supports their marriage. Meanwhile, despite Caligula's popularity with the masses, the Senate expresses disapproval for what initially seem to be light eccentricities. Darker aspects of Caligula's personality emerge when he rapes a bride and groom on their wedding day in a minor fit of jealousy and orders Gemellus's execution to provoke a reaction from Drusilla. After discovering that Caesonia is pregnant, Caligula suffers severe fever.

Drusilla nurses him back to health. Just as he fully recovers, Caesonia bears him a daughter,.

During the celebration, Drusilla collapses with the same fever he suffered. Soon afterwards, Caligula receives another ill omen in the form of a blackbird. Despite his praying to Isis out of desperation, Drusilla dies from her fever.

Initially unable to accept her death, Caligula suffers a and rampages through the palace, destroying a statue of Isis while clutching Drusilla's body. Now in a deep, Caligula walks the Roman streets disguised as a beggar; he causes a disturbance after watching an amateur performance mocking his relationship with Drusilla. After a brief stay in a city jail, Caligula proclaims himself a god and becomes determined to destroy the senatorial class, which he has come to loathe. The new reign he leads becomes a series of humiliations against the foundations of Rome—senators' wives are forced to work in the service of the state as prostitutes, estates are confiscated, the old religion is desecrated and the army is made to embark on a mock invasion of Britain.

Unable to further tolerate his actions, Longinus conspires with Chaerea to assassinate Caligula. Caligula enters his bedroom where a nervous Caesonia awaits him. Another blackbird appears but only Caesonia is frightened of it. The next morning, after rehearsing an Egyptian play, Caligula and his family are attacked in a coup headed by Chaerea. While leaving the stadium, Caligula's wife and daughter are murdered and Chaerea stabs Caligula in the stomach. With his final breath, he defiantly whimpers 'I live!'

As Caligula and his family's bodies are thrown down the stadium's steps and their blood is washed off the marble floor, Claudius is proclaimed the new Emperor. What shall it profit a man if he should gain the whole world and lose his own soul? 8:36, quoted at the film's beginning, establishing the film's theme that 'absolute power corrupts absolutely' The film's primary theme is 'absolute power corrupts absolutely'.

Vidal's script presented Caligula as a good man driven to madness by absolute power; Brass' screenplay envisioned Caligula as a 'born monster'. In The Encyclopedia of Epic Films, author Djoymi Baker describes Brass' screenplay as 'an antiepic with an antihero, on a path of self-inflicted, antisocial descent'. Guccione said this final draft was more violent than sexual, stating, 'I maintain the film is actually anti-erotic. in every one of its scenes you'll find a mixture of gore or violence or some other rather ugly things'. Casting [ ] Renowned actors were cast in the film, including,, and Sir, with cast as Caligula's doomed sister Drusilla. Schneider became uncomfortable with appearing nude and in sexual scenes, and left the production, to be replaced by, whom Brass had previously worked with on Salon Kitty.

Schneider had also apparently angered Brass by sewing up the open tunics she was supposed to wear on camera. Gielgud was originally offered the role of Tiberius, which he declined, as he felt Vidal's script was 'pornographic'; however, he later accepted the role of Nerva. Director Tinto Brass cast his own acquaintances as senators and noblemen, including ex-convicts, thieves and. Guccione cast as female extras in sexual scenes. Was cast as, a 'born monster' who serves as the film's.

Shooting began in 1976 in Rome. McDowell got along well with Tinto Brass, while Peter O'Toole immediately disliked the director. John Gielgud and Helen Mirren were indifferent to Brass; they focused on their own performances. O'Toole had stopped drinking alcohol before filming, but Guccione described O'Toole as being 'strung out on something' and said the actor was not sober during the entire filming schedule. During the film's production, McDowell took members of the production to dinner at an expensive restaurant to celebrate England's win in a match against the Italian team.

He left the choreographer to pay for the meal, saying he had forgotten to bring enough money. At the end of the production, McDowell gave his dresser a pendant bearing her name, but it was misspelled and she gave it back to him. McDowell offered her a signet ring, a prop from the film. She refused because it belonged to the production company. Brass decided not to focus much on Danilo Donati's elaborate sets, and intentionally kept the Penthouse Pets in the background during sex scenes. He focused instead on women whom Guccione considered to be unattractive. Brass and Guccione disagreed about the film's approach to sexual content; Guccione preferred unsimulated sexual content that Brass did not want to film.

Post-production [ ]. Served as the film's director, but disowned the film in post-production, and was credited only for 'principal photography'. Filming concluded on December 24, 1976.

Guccione said Brass shot enough film to 'make the original version of about 50 times over'. Brass started editing the film himself but was not allowed to continue after he had edited approximately the first hour of it.

His rough-cut was disassembled afterwards and the film was edited by several editors, changing its tone and structure significantly by removing and re-arranging many scenes, using different takes, a slower editing style and music other than Brass intended. A few weeks after filming had concluded, Guccione and Giancarlo Lui returned to Rome with several Penthouse Pets. Guccione and Lui 'hired a skeleton crew, snuck back into the studios at night, raided the prop room' and shot hardcore sex scenes to edit into the film. Brass ultimately disowned the film. Even though there were a number of editors on the film, their names were not credited. Instead, the credit 'Editing by the Production' is given during the opening credits.

Because the film was intended for release in English and much of the dialogue was recorded in Italian, the film's dialogue had to be. Peter O'Toole was reluctant to re-record his dialogue; he stayed away from the film's producers until he finally agreed to re-record his dialogue in a Canadian recording studio. Soundtrack [ ] Caligula: The Music by Released 1980 ( 1980) Recorded.

• (Songs) • Emmequattro Studios (Score),, Length 36: 22 Toni Biggs The film was scored by under the name Paul Clemente. According to Kristopher Spencer, the score 'is gloriously dramatic, capturing both the decadent atmosphere of ancient Rome and the twisted tragedy of its true story'.

The score also featured music by (from ) and (from ). In November 1980, Guccione formed Penthouse Records to release a soundtrack to Caligula. The album featured Nicolai's score and two versions — one in a style — of a love theme titled 'We Are One', which did not appear in the film. Track listing [ ] Side one No. Title Writer(s) Lead vocals Length 1. 'We Are One ( Caligula Love Theme)' Toni Biggs Lydia Van Huston 3:18 Side two No.

Title Writer(s) Lead vocals Length 1. 'We Are One ( Caligula Love Theme Dance Version)' Toni Biggs Lydia Van Huston 4:33 Side three No. Title Writer(s) Length 1. 'Wood Sequence (Intro/Spartacus/Romeo & Juliet)',, 4:20 2.

'Caligula & Ennia (Anfitrione)' Paul Clemente 1:52 3. 'Caligula's Dance (Marziale)' Paul Clemente 1:20 4. 'Drusilla's Bedroom (Spartacus)' Aram Khatchaturian 0:55 5. 'Isis Pool (Oblio)' Paul Clemente 4:15 6. 'Livia/Proculus Wedding (Movimento)' Paul Clemente 3:37 7. 'Caesonia's Dance (Primitivo)' Paul Clemente 1:25 Side four No.

Title Writer(s) Length 1. 'Drusilla's Death - Main Theme (Spartacus)' Aram Khatchaturian 5:48 2. 'Orgy On Ship (Cinderella/Midnight Waltz)' Sergei Prokofiev 1:52 3.

'Orgy On Ship - Part II (Orgia)' Paul Clemente 2:28 4. 'Battle Of Britain (Spartan War)' John Leach 1:26 5. 'Play/Stadium (Equiziana)' Paul Clemente 2:47 6. 'Caligula's Death (Romeo & Juliet)' Sergei Prokofiev 3:32 7. 'Reprise (Spartacus [Main Theme])' Aram Khatchaturian 0:45 Release [ ].

Was cast as, wife of Caligula. Mirren described the film as an 'irresistible mix of art and genitals'.

Guccione refused to submit Caligula to the because he did not want the film to receive a rating—even —which he considered to be 'demeaning'. Instead, Guccione applied his own 'Mature Audiences' rating to the film, instructing theater owners not to admit anyone under the age of 18. The film premiered in the United States on February 1, 1980, at the Trans Lux East Theatre, which Guccione had rented exclusively to screen the film; he changed the theater's name to Penthouse East. Rather than leasing prints to exhibitors, the distributor rented theaters that specialized in foreign and art films for the purpose of screening Caligula exclusively, to keep the film out of theaters that showed pornographic films. In 1981, the approved the establishment of special theaters to screen and Caligula because they were international box office hits. Caligula grossed US$23 million at the box office, becoming the highest-grossing pornographic film ever produced independently. The film was a financial success in France, Germany, Switzerland, Belgium, the Netherlands and Japan.

A 105-minute R-rated version without the explicit sexual material was released in 1981. Legal problems [ ] In 1979, when Guccione tried to import the film's footage into the U.S., customs officials seized it. Federal officials did not declare the film to be obscene. When the film was released in New York City, the anti-pornography organization unsuccessfully filed a lawsuit against these federal officials. In, authorities seized the film. Penthouse took legal action, partly because Guccione thought the legal challenges and moral controversies would provide 'the kind of [marketing] coverage money can never buy'.

Penthouse won the case when a ruled that Caligula had passed the and was not obscene. While the Boston judge said the film 'lacked artistic and scientific value' because of its depiction of sex and considered it to '[appeal] to prurient interests', he said the film's depiction of ancient Rome contained political values which enabled it to pass the Miller test in its depiction of corruption in ancient Rome, which dramatized the political theme that 'absolute power corrupts absolutely'. A, district attorney declined an anti-pornography crusader's request to prevent the release of Caligula on the basis that 'the most offensive portions of the film are those explicitly depicting violent, and not sexual conduct, which is not in any way prohibited by the criminal law.' , prosecutors threatened legal action if the film was to be screened in the city, but experts testified in court on behalf of the film, and Atlanta, too, declared that the film was not obscene. Citizens for Decency through Law, a private watchdog group which protested against films which it deemed immoral, sought to prevent the film's exhibition in, on the grounds that it would be a 'public nuisance', leading Penthouse to withdraw the film from exhibition there to avoid another trial. CDL's lawyer advised against attempting to prosecute Penthouse for obscenity and instead recommended a civil proceeding, because the film would not be placed against the Miller test.

The Penthouse attorney described the Fairlawn events as being driven by morality reinforced by 's presidential victory, stating, 'Apparently, these extremists have interpreted a change by administration to mean a clarion call for a mandate to shackle the public's mind again. Toshiba E-studio 263 Cs Driver. ' The uncut film was granted a certificate by the British Board of Film Classification in 2008. Spons Electrical Estimating Pdf Download there. The film was banned in Australia, where it continues to be banned in its uncut form as of 2014. In 1981, Anneka Di Lorenzo, who played Messalina, sued Guccione, claiming sexual harassment.

In 1990, after a protracted litigation, a New York state court awarded her $60,000 in compensatory damages and $4 million in punitive damages. On appeal, court vacated the award because the punitive damages were determined to be unrecoverable. Reception [ ] Contemporary reviews [ ].

Was cast as in the film, a role originally offered to. Caligula received generally negative reviews. Gave it zero stars, calling it 'sickening, utterly worthless, shameful trash'. Ebert wrote, 'In the two hours of this film that I saw, there were no scenes of joy, natural pleasure, or good sensual cheer. There was, instead, a nauseating excursion into base and sad fantasies.'

It is also notable for being one of the few films Ebert has ever walked out of—he walked out 2 hours into its 170-minute length after feeling 'disgusted and unspeakably depressed'. He and selected the film as one of their 'dogs of the year' in a 1980 episode of. Described the film as a 'moral holocaust'. Called Caligula 'a trough of rotten swill'., reviewing Caligula for, said, ' Caligula doesn't really work on any level'. Scott unfavourably compared Caligula with, describing the latter film as a better treatment of extreme sexuality. Scott's review went on to say 'Rome would seem to be at least as fecund a territory for the cinematic exploration of sex, death and money, as pre-war Japan.

But what's missing from Caligula, which is rife with all three, is any connective tissue (also any point of view, any thought, any meaning)'. Scott concluded his review by claiming the whole film's production was 'a boondoggle of landmark proportions'. Critic described the film as 'an infinitely degraded version of. ( ) stated that the film was 'by no means so awesomely bad as most critics have been pleased to report—but pretty bad all the same' and found the film to be 'notable chiefly for the accuracy with which it reflects this anonymity.' Retrospective reviews [ ] Although Caligula is considered to be a ', it continued to garner negative reception long after its release. It has been reappraised by some critics; review aggregate gives the film a score of 24%, based on 29 reviews. The site's critical consensus reads, 'Endlessly perverse and indulgent, Caligula throws in hardcore sex every time the plot threatens to get interesting.'

Said Caligula was 'a vile curiosity of interest chiefly to sado-masochists'. Called it 'a dreary shambles'. Positive criticism of the film came from Moviehole reviewer, who awarded it 3 stars out of 5, calling it '[a] classic in the coolest sense of the word'. New Times critic Gregory Weinkauf gave the film 3 out of 5, calling it 'Kinda dumb and tacky, but at least it's a real movie'.

Arkansas Democrat-Gazette reviewer Philip Martin also gave the film 3 out of 5. Writers for and said Caligula was one of the worst films they'd seen. Writing for, Keith Phipps said, 'As a one-of-a-kind marriage of the historical epic and the porn film. Caligula deserves a look. But it might be better to let Guccione's savagely unpleasant folly fade into the century that spawned it'. Legacy [ ] Helen Mirren described Caligula as 'an irresistible mix of art and genitals'.

In 2005, artist produced a fake trailer for an alleged remake called Gore Vidal's Caligula as a promotion for 's new line of accessories; the remake was to star Helen Mirren as 'the Empress Tiberius', as Chaerea, as Drusilla, as Caligula, and as Agrippina the Elder and featuring an introduction by Gore Vidal. The fake trailer was screened worldwide, including New York City's 's 2006 Whitney Biennial. Has cited the film as an influence on his approach to the lead in.

Brad Jones, creator of, has said that Caligula is his favorite film. Caligula was released on and in an 'Imperial Edition', which featured the unrated theatrical release version and a new version featuring alternate sequencing from the original theatrical release and without the explicit sexual content shot by Guccione. This edition also includes audio commentaries featuring Malcolm McDowell and Helen Mirren, and interviews with the cast and crew. See also [ ] • References [ ].

The Saga of the Unmaking of Caligula. • William Hawes (2008). Caligula and the Fight for Artistic Freedom: The Making, Marketing and Impact of the Bob Guccione Film. • ^ William Hawes (2008)..

• ^ Kristopher Spencer (2008).. • The film's titles credit both Baragli and 'The Production', a credit possibly referring to and his production assistants, with editing. • 'Annuario del cinema italiano & audiovisivi' (in Italian). Centro di studi di cultura, promozione e difusione del cinema: 59.. • Anthony Slide (2014)..

• William Hawes (2008).. • ^ William Hawes (2008)..

• ^ John Heidenry (2002).. Simon and Schuster. Retrieved 9 June 2012. • Spencer, David (January–February 2010).

Tied-In: The Newsletter of the International Association of Media Tie-in Writers. Calabasas, California: International Association of Media Tie-in Writers. Retrieved 26 August 2015. • ^ Ernest Volkman (May 1980)..: 112–118, 146–115. Archived from on August 8, 2014.

Retrieved June 9, 2012. • Constantine Santas; James M.

Wilson; Maria Colavito; Djoymi Baker (2014).. Scarecrow Press. New York Media, LLC. March 26, 1979.

• ^ John Heidenry (2002).. Simon and Schuster. Time (magazine). January 3, 1977. Retrieved June 9, 2012. • ^ Michael Weldon (1996).. Martin's Press.

Porter (2007).. • ^ Stephen Prince (2002).. University of California Press. • ^ Constantine Santas; James M. Wilson; Maria Colavito; Djoymi Baker (2014).. Scarecrow Press.

•, Video Rai TV (July 31, 2012) • ^ William Hawes (2008).. • ^ (September 6, 1999)... Retrieved June 9, 2012. • ^ Jeffrey Richards (2008).. New York Media, LLC.

February 25, 1980. Retrieved September 9, 2014. • William Hawes (2008).. Nielsen Business Media, Inc. November 15, 1980. • Jerry Osborne (2002).. Jerry Osborne Enterprises.

• ^ William Hawes (2008).. • ^ Stephen Vaughn (2006).. Cambridge University Press. A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980–1989.

• ^ Stephen Vaughn (2006).. Cambridge University Press. • Lisa Shaw; Stephanie Dennison (2014).. Vedral (1990).. Martin's Press. • William Hawes (2008)..

• David Welling (2010).. University of Texas Press. • ^ Stephen Prince (2002).. University of California Press. • Robert Cetti (2014).. Robert Cettl.

Retrieved January 19, 2011. Retrieved July 3, 2014.

• ^ (September 22, 1980)... Retrieved June 9, 2012. •, Modified by Richi from Juapo2Services & Developer by Arslan Hassan.. • ^ Jay Scott, The Globe and Mail, February 7, 1980.

• Milne, Tom (1980). Vol. 47 no. 552.. • William Hawes (2008).. • Photoplay Magazine, Volume 38, 1987 (p.38) •.. Retrieved June 9, 2012. • 'Lowest:100 Really Bad Moments in 20th Century Entertainment'. The Hamilton Spectator, July 24, 1999 (p.

• Joe Holleman, 'Roman Warriors roam the big screen again'. Louis Post-Dispatch May 5, 2000 (p. • Keith Phipps (April 23, 2002). Retrieved January 12, 2014. • Linda Yablonsky (February 26, 2006)... Retrieved June 9, 2012. December 18, 2013.

• • Monica S. Cyrino (2013).. Palgrave Macmillan. Winkler (2009).. Cambridge University Press.

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