| Fotos (Alle 12 | Diashow) |
| Malcolm McDowell | ... | Caligula | |
| Teresa Ann Savoy | ... | Drusilla | |
| Guido Mannari | ... | Macro | |
| John Gielgud | ... | Nerva | |
| Peter O'Toole | ... | Tiberius | |
| Giancarlo Badessi | ... | Claudius | |
| Bruno Brive | ... | Gemellus | |
| Adriana Asti | ... | Ennia | |
| Leopoldo Trieste | ... | Charicles | |
| Paolo Bonacelli | ... | Chaerea | |
| John Steiner | ... | Longinus | |
| Mirella D'Angelo | ... | Livia (as Mirella Dangelo) | |
| Helen Mirren | ... | Caesonia | |
| Rick Parets | ... | Mnester (as Richard Parets) | |
| Paula Mitchell | ... | Subura Singer | |
| Osiride Pevarello | ... | Giant | |
| Donato Placido | ... | Proculus | |
| übrige Besetzung in alphabetischer Reihenfolge: | |||
| Anneka Di Lorenzo | ... | Messalina | |
| Lori Wagner | ... | Agrippina | |
| Patrick Allen | ... | Macro (voice) (uncredited) | |
| Gerardo Amato | ... | (uncredited) | |
| Pino Ammendola | ... | (uncredited) | |
| Eduardo Bergara Leumann | ... | High Priest of Rome (uncredited) | |
| Signe Berger | ... | Imperial Brothel Worker (uncredited) | |
| Eolo Capritti | ... | The Executioner (uncredited) | |
| Valerie Rae Clark | ... | Priestess of Isis / Imperial Brothel Worker (uncredited) | |
| Maria Cumani Quasimodo | ... | Priestess of Isis (uncredited) | |
| Jane Hargrave | ... | Priestess of Isis / Imperial Brothel Worker (uncredited) | |
| Henrietta Kelogg | ... | Imperial Brothel Worker (uncredited) | |
| John Francis Lane | ... | Guest at Proculus' Wedding (uncredited) | |
| Giuseppe Maffioli | ... | Master of Ceremonies (uncredited) | |
| Juliet Morris | ... | Imperial Brothel Worker (uncredited) | |
| Carolyn Patsis | ... | Imperial Brothel Worker (uncredited) | |
| Susanne Saxon | ... | Imperial Brothel Worker (uncredited) | |
| Melanie Sutherland | ... | Imperial Brothel Worker (uncredited) | |
| Bonnie Dee Wilson | ... | Imperial Brothel Worker (uncredited) | |
Regie | |||
| Tinto Brass | (principal photography) | ||
| Bob Guccione | (additional footage) | ||
| Giancarlo Lui | (additional footage) | ||
Buch | ||
| Gore Vidal | (earlier screenplay) | |
| Bob Guccione | (additional scenes) (1984 version) uncredited & | |
| Giancarlo Lui | (additional scenes) (1984 version) uncredited | |
| Franco Rossellini | (dialogue) (1984 version) uncredited | |
Produktion | |||
| Bob Guccione | .... | producer | |
| Franco Rossellini | .... | producer | |
| Franco Rossellini | .... | line producer (uncredited) | |
| Jack H. Silverman | .... | executive producer (uncredited) | |
Originalmusik | |||
| Bruno Nicolai | (as Paul Clemente) | ||
| Renzo Rossellini | (1984) | ||
Kamera | |||
| Silvano Ippoliti | (director of photography) | ||
Schnitt | |||
| Nino Baragli | |||
| Enzo Micarelli | (1984 version) | ||
| Russell Lloyd | (uncredited) | ||
Casting | |||
| Paolo Heusch | |||
| Roberto Tatti | |||
Bauten/Dekorationsbau (art directors) | |||
| Danilo Donati | |||
Kostüme | |||
| Danilo Donati | (uncredited) | ||
Maske/Frisuren | |||
| Giuseppe Banchelli | .... | makeup artist (as Guiseppe Banchelli) | |
| Iole Cecchini | .... | hair stylist (as Jole Cecchini) | |
Regieassistenten | |||
| Piernico Solinas | .... | first assistant director | |
Ausstattung (Stab) | |||
| Gianpiero Grassi | .... | property master | |
| Giovanni Natalucci | .... | architect | |
| Luigi Urbani | .... | set dresser | |
| Franco Velchi | .... | architect | |
Ton Stab | |||
| Marco Di Biase | .... | boom operator | |
| Gerry Humphreys | .... | dubbing mixer | |
| Archie Ludski | .... | dialogue editor | |
| Claudio Maielli | .... | sound engineer | |
| Giuliano Maielli | .... | boom operator | |
| Stefano Morandi | .... | sound mixer (1984 version) | |
| Robin O'Donoghue | .... | dubbing mixer | |
| Winston Ryder | .... | supervising sound editor | |
| Roger Van Engel | .... | sound editor | |
Spezialeffekte | |||
| Franco Celli | .... | special effects | |
| Marcello Coccia | .... | special effects | |
Kamera und Elektrik (Stab) | |||
| Eddie Adams | .... | special photographer | |
| Jerry Bauer | .... | special photographer | |
| Giuseppe Di Biase | .... | camera operator (as Pino Di Biase) | |
| Bob Guccione | .... | cinematographer: additional scenes | |
| Giancarlo Lui | .... | cinematographer: additional scenes | |
| Stan Malinowski | .... | special photographer | |
| Claudio Patriarca | .... | special photographer | |
| Enrico Sasso | .... | camera operator | |
| Mario Tursi | .... | unit photographer | |
Kostüm und Garderobe (Stab) | |||
| Gloria Musetta | .... | wardrobe mistress (as Gloria Picone Mussetta) | |
| Gregorio Simili | .... | wardrobe master | |
Schnitt (Stab) | |||
| Peter Krook | .... | assistant editor | |
| Giancarlo Lui | .... | post-production director | |
| Enzo Natale | .... | post-production coordinator (1984 version) | |
Musik (Stab) | |||
| Aram Khachaturyan | .... | composer: musical excerpts (as Aram Khachaturian) | |
| Bruno Nicolai | .... | conductor (as Paul Clemente) | |
| Bruno Nicolai | .... | orchestrator (as Paul Clemente) | |
| Sergei Prokofiev | .... | composer: musical excerpts | |
Restlicher Stab | |||
| Walter Alford | .... | unit publicist | |
| Ferruccio Amendola | .... | dubbing director (1984 version) | |
| Carla Cipriani | .... | continuity | |
| Bruno Di Bartolomei | .... | accountant | |
| Leslie Jay | .... | assistant to producers | |
| Tito LeDuc | .... | choreographer (as Tito Le Duc) | |
| Giuseppe Maffioli | .... | consultant: gastronomy | |
| Pino Pennesi | .... | choreographer | |
| Franco Rossellini | .... | director: additional scenes (1984 version) | |
| Maria Ruhle | .... | unit publicist | |
| Louise Vincent | .... | dialogue director | |
| Masolino D'Amico | .... | translator (uncredited) | |
| Paula Mitchell | .... | researcher (uncredited) | |
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| Yu pu tuan zhi: Tou qing bao jian | Salò o le 120 giornate di Sodoma | Furyô anego den: Inoshika Ochô | Tarantola dal ventre nero, La | Basic Instinct |
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Some describe CALIGULIA as "the" most controversial film of its era. While this is debatable, it is certainly one of the most embarrassing: virtually every big name associated with the film made an effort to distance themselves from it. Author Gore Vidal actually sued (with mixed results) to have his name removed from the film, and when the stars saw the film their reactions varied from loudly voiced disgust to strategic silence. What they wanted, of course, was for it to go away.
For a while it looked like it might. CALIGULA was a major box-office and critical flop (producer Guccione had to rent theatres in order to get it screened at all), and although the film was released on VHS to the home market so many censorship issues were raised that it was re-edited, and the edited version was the only one widely available for more than a decade. But now CALIGULIA is on DVD, available in both edited "R" and original "Unrated" versions. And no doubt John Gielgud is glad he didn't live to see it happen.
The only way to describe CALIGULIA is to say it is something like DEEP THROAT meets David Lynch's DUNE by way of Fellini having an off day. Vidal's script fell into the hands of Penthouse publisher Bob Guccione, who used Vidal's reputation to bankroll the project and lure the big name stars--and then threw out most of Vidal's script and brought in soft-porn director Tinto Brass. Then, when Guccione felt Brass' work wasn't explicit enough, he and Giancarlo Lui photographed hardcore material on the sly.
Viewers watching the edited version may wonder what all the fuss is about, but those viewing the original cut will quickly realize that it leaves absolutely nothing to the imagination. There is a tremendous amount of nudity, and that remains in the edited version, but the original comes complete with XXX scenes: there is very explicit gay, lesbian, and straight sex, kinky sex, and a grand orgy complete with dancing Roman guards thrown in for good measure. The film is also incredibly violent and bloody, with rape, torture, and mutilation the order of the day. In one particularly disturbing scene, a man is slowly stabbed to death, a woman urinates on his corpse, and his genitals are cut off and thrown to the dogs.
In a documentary that accompanies the DVD release, Guccione states he wanted the film to reflect the reality of pagan Rome. If so, he missed the mark. We know very little about Caligula--and what little we know is questionable at best. That aside, orgies and casual sex were not a commonplace of Roman society, where adultery was an offense punishable by death. And certainly ancient Rome NEVER looked like the strange, slightly Oriental, oddly space-age sets and costumes offered by the designers.
On the plus side, those sets and costumes are often fantastically beautiful, and although the cinematography is commonplace it at least does them justice; the score is also very, very good. The most successful member of the cast is Helen Mirren, who manages to engage our interests and sympathies as the Empress Caesonia; Gielgud and O'Toole also escape in reasonably good form. The same cannot be said for McDowell, but in justice to him he doesn't have much to work with.
The movie does possess a dark fascination, but ultimately it is an oddity, more interesting for its design and flat-out weirdness than for content. Some of the bodies on display (including McDowell's and Mirren's) are extremely beautiful, and some of the sex scenes work very well as pornography... but then again, some of them are so distasteful they might drive you to abstinence, and the bloody and grotesque nature of the film undercuts its eroticism. If you're up to it, it is worth seeing once, but once is likely to be enough.
Gary F. Taylor, aka GFT, Amazon Reviewer