Guccione's coterie then locked Brass out of the editing room in order to transform the action into something far more lascivious.Ī lengthy interview with Brass some years later catalogued his regret of what was done to the film. It was originally to be called "Gore Vidal's Caligula" but the first sign that all was not going to Vidal's plan was when Guccione hired the Italian director, Tinto Brass, whose "vision" appeared at odds with Vidal's storytelling.īrass barred Vidal from the set and changed the film's focus, after which the writer withdrew any further involvement. They did not cast aspersions on the virtuosity of its actors or its sumptuous set design – its production designer, Danilo Donati, was also behind the sets and costumes for Federico Fellini's Satyricon, Roma and Amarcord, but it was slated for its "horrific violence" and its "wall-to-wall sex scenes" as well as what some condemned as inane dialogue.įew could have imagined that Guccione's financial involvement would have affected its outcome quite so dramatically as he had already invested in critically acclaimed films such as Roman Polanski's Chinatown. When it was released, the reviews were devastating.
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