- Caligula 1979 The Imperial Edition Uncut Movie Full
- Caligula 1979 The Imperial Edition Uncut Movie Full
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Release: Oct 03, 2009 - Author: Peda - Translator: Matar - external link: IMDB The Imperial Edition, which has been released in America and the UK in 2008 was awaited by various fans in pleasant anticipation. Not only because of the official uncut version, as well for the included Alternate Version. There were a lot of hopes this alternative version would contain material from the legendary ‘Cannes Cut’ and would correct some cutting mistakes from the unrated version which lacks continuity. Let’s have a look at the details the alternate version does not contain. It has definitely nothing in common with the ‘Cannes Cut’ (allegedly 210 minutes). On the contrary, its running time is with its 153 minutes even shorter than the uncut version (156 minutes). It is also not a new version of the movie and contains more or less the known unrated version. The reason why this alternate version is that important for true fans is shown in the detail. As we know the uncut version starts with a scene in the forest. The AE shows this scene in its actual context. In addition, every hardcore material which has been inserted by Bob Guccione is missing and now the audience can see the softcore material by Tinto Brass. Because of this editing the ‘Imperial Bordello’ sequence seems to be completely different and the lesbian sequence of the two Penthouse girls is missing. These changes are the most obvious ones and it is quite strange that there is not much more of additional material available in the AE. Considering the bonus material shows the reason: Most of the scenes are in a horrible condition, often just workprint quality or worse, often just from one camera angle, sometimes black and white or without sound but with massive damages. So what is he deal with this AE? It is a fictive cut of the movie where Guccione and his cutters had ended their incompetence and decided that the movie has to have lot more of hardcore sexual intercourses. This means the catastrophic cut also influenced the AE massively. If someone didn’t notice yet, Gucciones cutting contained various test-takes and weird camera angles as well as many scenes which have been set to wrong positions. Scenes which have been positioned in a wrong way. : When Caligula meets Marco and the doctor of Tiberius, a lot of torture and punishing scenes were cut in between. These scenes actually belong to the sequence where Caligula is welcomed by Nerva in the mansion of Tiberius on Capri. There Caligula disappears behind a curtain and hears some noise of the torture. The scene where Caligula awakes from a nightmare and is calmed down by Drusilla is the actual initial scene of the movie (as it is in the AE). The uncut uses this sequence right after Tiberius’ grotto which doesn’t make any sense because Drusilla didn’t come to Capri. Right before the birth of Caligula’s daughter one can see him playing with a rat and a black bird cages itself in a curtain. This scene is actually seen after the birth because one can see Caesonia and her child right beside him. Cut scenes: The scene with the killing machine the uncut version fades away after Caligula whispers something into Longinus ear and both start to laugh like maniacs. The Italian re-cut ‘IO, Caligola’ shows why they are laughing: Caligula ordered that Proculus has to be pushed in front of the killing machine. As this happens Proculus tries to survive, overpowers a guardian and climbs up to the killing machine. Caligula honours him right away as a Roman hero. This shows the following scene of the raping in the kitchen in a completely different light. After Caligula had to subscribe some laws he disappears in the uncut and just a comment can be heard that he will have some ‚fun’ with Proculus. It is missing how he climbs up some furniture and is talking to Longinus. He ponders about conquests and wars and orders food deliveries for the preparation of the sea fight. Scenes which have been generated while cutting: While Caligula is in his bed because of severe illness, Caesonia walks onto the terrace and observes some noblemen who are planning the time after Caligula’s death. The dialog has been re-made and can be heard off-screen. The dialog between the men who wash themselves in the red mud has been re-made which can be seen at the different lip-movement. Missing scenes: Caligula replaces the heads of various statues with his own image. Caligula destroys those heads later with a hammer and starts crying afterwards, Caesonia gives a massage to Caligula after he was elected to a god by the senate. Caligula smashes the head of a priest of Jupiter and claims to have spoken to Jupiter. Afterwards he robs the treasure hold of the temple. For his war costs Caligula collects donations and takes a bath in his money. Caligula elects his horse to a consul. These facts are just little excerpts, there are lots of other scenes which are missing in the uncut version. Some sources claim that the kitchen scene was also more graphical and more brutal. It is conspicuous that a lot of scenes from the last third of the movie are missing where Caligula’s antics gone wilder. The AE is a small step to a completely restaurated version of this legendary movie, but still lacks new aspects. Caligula maniacs are more likely in love with this AE while the uncut version with its hardcore scenes seems to be for newcomers. Especially the bordello scene is much more boring in the AE. So this is he comparison of the Alternative Version and the Uncut Version, both are included in the Imperial Edition by Arrow Films. Runtime Uncut: 2:35:58 Runtime AE: 2:32:58 The uncut version offers more material in 15 scenes which has been extended or replaced, furthermore there are 20 contextual differences. All time notes are based on the uncut version. As it is not described differently the pictures from the AE are on the left side and those pictures from the uncut version are on the right hand side. 01:01 After showing the text boards the uncut versions provides the viewer with the scene in the woods. Caligula and Drusilla are running around and keep cuddling with each other. This scene doesn’t have any context to the actual beginning of the movie: Caligula doesn’t wear a beard! Directly after this scene he has got a beard which is only cut off when Nerva dies. Uncut 154 Sec. longer, pictures from the uncut version 05:43 When the intro fades away one can see Caligula who awakes from a nightmare. He says that Tiberius wants to kill him. His sister Drusilla tries to calm him down and tells him he is the only heritage of Tiberius. Caligula gets out in panic and Drusilla laughs at him. Caligula calms down and jumps back on his bed. Here the uncut starts. The beginning of this scene comes pretty much later in a completely illogical sequence. AE 108 Sec. longer, pictures from AE 18:52 While the uncut version shows a masturbating man, the AE shows a woman who is leading a goat to her pubic area. No time difference.
19:13 Here the uncut version shows a HC scene of a couple in cowgirl position (no pictures) and right after a SC shot with fellatio. The AE shows a woman who tries to do “something” with a swan. No time difference.
26:24 The uncut version shows a scene which has been shown in the AE at 05:29 – Caligulas nightmare and the black bird. While on Capri this scene does not make any sense. Uncut 108 Sec. longer 50:12 When Caligula finds both spiest he AE lacks another HC shot. Uncut 4 Sec. longer, pictures from the uncut version 55:46 The first close-up of the masturbating love slaves has been shortened in the AE so one can not see the right guy ejaculating (no pictures). Uncut 0,5 Sec. longer 55:50 A shot where the love slaves collect her semen in a bowl is missing in the AE (no pictures). Uncut 4 Sec. longer 59:02 When Caligula discharges Ennia with her bed the uncut fades to the royal terrace. This fading is missing in the AE and one can not hear how Ennia is screaming for Caligula. The AE shows the forrest sequence which has been shown at the beginning of the uncut version. Beside several shots of Caligula and Drusilla one can also see the penthouse pets who find the sleeping shepherd and try to get close to his penis. The whole scene is very beautiful and just makes any sense in this context. Tiberius is dead, Marco has been replaced by harmless Caerea, Caligula and Drusilla don’t have to keep their love secret. AE 203 Sec. longer, pictures from the AE 1:03:03 The uncut version shows several shots of the penthouse pets who are touching each other. The AE shows a top-down shot of the whole pool. No time difference.
1:19:44 While Drusilla and Caesonia care Caligula the A lacks a zoom on the hole in the wall where two pets are watching the scenery. Uncut 10 Sec. longer, pictures from the Uncut 1:20:01 Again the AE lacks another shot of the pets. Uncut 3 Sec. longer, pictures from the Uncut 1:20:22 Shortly after Caligulas kisses Ceasonia the uncut version shows the pets again. Uncut 6 Sec. longer, pictures from the Uncut 1:20:40 Caesonia and Drusilla are kissing each other. Just the uncut version shows the next sequence with the pets. Uncut 34 Sec. longer 1:21:16 Here the AE is cut in a strange way. There is a jump-cut while Caligula lays his arm on Drusillas back. Uncut 2 Sec. longer 1:21:28 Again only the uncut versions shows the scene between the lesbians. Uncut 13 Sec. longer 1:21:41 The AE lacks a shot of Caligula, Caesonia and Drusilla. The next part of the lesbians is also missing. Uncut 32 Sec. longer 1:22:13 The uncut version lacks a scene where Caligula strokes Drusillas bottom. AE 8 Sec. longer, picture from AE 1:22:16 The next part of the leasbian scene can only be seen in the uncut version. Uncut 35 Sec. longer, pictures from the Uncut 1:22:51 The uncut shows a scene which was missing at 1:22:13. Afterwards the great final of the pets can be seen. Uncut 114 Sec. longer, pictures from the Uncut 2:07:43 The first HC shot from the „Imperial Bordello“ scene (fellatio between two men) was replaced with a shot of swinging women. No time difference.
2:09:21 The first shot of a female love slave which tries to overpower a dwarf is still available in the AE. The uncut shows afterwards how the woman starts to please the dwarf with her mouth. The AE replaces this scene with more swinging women. No time difference.
2:10:09 The uncut shows a zoom of the blowjob. The AE shows several shots of the orgy where the pets can be seen longer. No time difference. Pictures from the AE 2:10:54 Again a replacement of the blowjob with softer material. No time difference. Pictures from the AE 2:11:08 Again HC elements were replaced with SC material – this time a whole scene. No time difference.
2:11:48 And again the AE replaces HC with SC. No time difference.
2:13:31 The uncut shows a couple while having a good time, the AE shows guests. No time difference. Picture from the AE 2:13:41 While the uncut version shows the couple in a reverse cowgirl position, the AE shows more guests. No time difference.
2:14:11 The blowjob shots from the uncut have been replaced with more swinging women. No time difference.
2:15:37 When the soldiers start to march around the ship the uncut version has several scenes of blowjobs in between. The AE replaces these elements with the soldiers from a different angle. No time difference.
2:15:54 Identical to the former shot. No time difference. Bild nur aus AE 2:16:19 Again an identically change. No time difference. Picture from the AE 2:16:31 The blowjob has been replaced with a camera panning of the ship. No time difference. Bild nur aus AE 2:16:34 Identically. No time difference. Bild aus AE 2:16:42 Again a blowjob has been replaced with swinging girls. No time difference. 2:16:47 Identically. No time difference. 2:16:50 The final of the blowjob, a second girl watches the scenery in a pleased manner. The AE shows again more swinging women. It seems that the imperial bordello scene lacks a second soundtrack so the AE also uses the uncut soundtrack. No time difference.
2:17:20 The riders can be seen a it earlier in the uncut version. Uncut 1,5 Sec. longer, picture from the Uncut |
CALIGULA: THE IMPERIAL EDITION (1980)
Directors: Tinto Brass/Bob Guccione
Penthouse Films/Image
In all honesty, CALIGULA has never been one of my favorite movies. As a young cinephile with a penchant for horror and other cult offerings, CALIGULA was one of those “holy grail” films: a movie so disgusting and perverted it demanded to be seen. Even with the inclusion of such distinguished London stage luminaries as Helen Mirren (THE QUEEN) and Sir John Gielgud (ARTHUR), as well as British cinema stalwarts Peter O’Toole (LAWRENCE OF ARABIA) and Malcolm McDowell (A CLOCKWORK ORANGE), my young mind envisioned a madhouse of ultra-violent sexual depravity. But with the passage of time and the advent of the VCR giving me easier access to more vile and sadistic works, by the time I’d caught up with CALIGULA, I considered the film an enormous letdown.
Purportedly based on actual events that transpired in Pagan Rome from 37 to 41 A.D., the film encapsulates the rise and eventual assassination of Gaius Julius Caeser Augustus Germanicus, more commonly know by his childhood nickname Caligula (Latin for “little boots”). Starting with his carefree days as a prince, the story follows Caligula (McDowell) as his thirst for power grows, culminating in the assassination of his syphilitic grandfather, Emperor Tiberius Claudius Nero (O’Toole) at the hands of Praetorian Guard prefect Macro (Guido Mannari, Pasolini’s DECAMERON), which allowed Little Boots to assume the throne. Caligula starts out as a beloved emperor, but following his recovery from an illness, he becomes increasingly unstable and more depraved than usual, engaging in such debauchery as rape and bestiality, as well as wanton murder. In the finale of the film, Caligula meets the same fate as his grandfather and is assassinated for the general good of Rome.
Being the invention of overly pretentious writer/historian Gore Vidal (MYRA BRECKENRIDGE), legendary porn mogul Bob Guccione (founder of Penthouse Magazine) and directed by Italian art trash specialist Tinto Brass (SALON KITTY), CALIGULA focuses primarily on the sexual sadism reported by Rome’s philosophers. Being that this is a Penthouse International Film, I surely didn’t expect a history lesson, but as a sidebar, Caligula did try to accomplish things in his life such as Western expansion and major construction. Since short shrift is given to few actual accomplishments within the film, one may leave the movie thinking Caligula was just an immoral pervert from the word go, whose days consisted of figuring out who to castrate and deciding whether he’d rather forcefully fist the groom at a wedding or make love to his own sister (Teresa Ann Savoy, also of SALON KITTY).
The film itself has always been a lightning rod for controversy. From the staggering budget for what is basically a porno film, the insistence of the name actors that they had no prior knowledge of the hardcore scenes, and the irreconcilable differences between Vidal, Guccione and Brass, the end result foisted onto the public was, and still is, a hell of a mess. Aside from Academy Award-winning art director Danilo Donati’s fascinating production design and the powerful and haunting score by Italian genre conductor and orchestrator Bruno Nicolai (credited on the film as Paul Clemente), CALIGULA is inconsistent in its technical tone, occasionally suffering from poor lighting, sub-par direction, obvious overacting and even a fair share of underacting. Oddly enough, the hardcore scenes Guccione shot after the original production wrapped are well done.
After it’s original video and laserdisc offerings in the 1980s and the 20th Anniversary edition released on DVD in 1999, Image brings to the public what will have to be the definitive release of CALIGULA with its IMPERIAL EDITION. Folks, this three-disc set is jam-packed with more CALIGULA than some could ever want! Disc One contains a high-definition, anamorphic widescreen 1.85:1 transfer of the 1980 Uncut, Unrated Theatrical Version and without a doubt this is the best the movie has ever looked. What struck me upon this viewing was how clear and colorful the film can be at times, giving credence to the brilliance of Donati’s designs. And while there is no major change in my opinion of the film, I admit there is more artistry going on here than I initially gave it credit for, which is due solely to the restoration of the film. That said, it’s still incredibly grainy in parts, much more so due to the latest upgrade. The film is presented in Dolby Digital, sporting a choice of 5.0 or mono. Three trailers, one for the Theatrical Cut, one for the R-rated cut and a teaser trailer are included.
Caligula 1979 The Imperial Edition Uncut Movie Full
Disc Two is being billed as a 152-minute alternate pre-release cut from 1979 containing footage not seen in the Theatrical Cut. It’s an incredible misfire, resulting in a just-walked-in-what-the-hell-is-going-on sensation throughout its entire running time. I find this version rather amusing in that respect, since according to the information at caligulathemovie.com, this is the closest version to director Brass’ original vision. While the Uncut Edition on the first disc at least has some continuous narrative, it’s largely absent from this pre-release cut. The key selling points of THE IMPERIAL EDITION for both ardent fans of the film and those with even a passing interest in the train-wreck that is CALIGULA are the inclusion of three separate audio commentary tracks, most notably with Malcolm McDowell and Helen Mirren.
On the first feature-length commentary, film historian Nick Redman moderates an incredibly droll and humorous feature-length commentary with McDowell, who still carries with him a wealth of knowledge on the making of the film. Great detail is given on his relationships with the principal talent and behind-the-scenes shenanigans with Vidal, Guccione and Brass and relates he has no regrets in making what may ultimately be his signature role. The second feature-length commentary is with Helen Mirren being moderated by film journalist Alan Jones. The two are joined by James Chaffin, author of the upcoming book 200 DEGREES OF FAILURE: THE UNMAKING OF ‘CALIGULA’. It’s as illuminating and informational as McDowell’s and equally as enjoyable. The third commentary, running almost 95 minutes, is with Ernest Volkman, on-set reporter for Penthouse and moderated by Nathaniel Thompson. Thompson was recorded in studio while Volkman literally phones in his contribution, making for (in my opinion) a rather irritating listen. Volkman does bring an alternate view of the film by providing information from the perspective of Guccione in a detailed, journalistic manner.
Caligula 1979 The Imperial Edition Uncut Movie Full
Disc Two’s extras commence with almost 50 minutes of deleted and alternate scenes, some in black and white but with most in color; quality does vary. While I found no need to sit through all of them, one doesn’t have to be a CALIGULA devotee to recognize the importance of their release in preserving the history of the picture and the history of film given the cast. Disc Three is strictly extras. A lot of extras. There’s almost 75 minutes more behind the scenes and alternate footage I skimmed through as well. Between all these scenes and the ones on Disc 2, you’ll be spending a lot of time sifting through all these never before seen treasures.
Ported over from the 20th Anniversary edition is the unintentionally funny THE MAKING OF CALIGULA, an hour-long documentary made while the film was in production. This vanity piece visually illustrates the lofty pretensions of its three principal creators: Gore Vidal is the quintessential annoying academic, Guccione the misunderstood smut peddler searching for artistic validation and Brass…well, he’s just plain frigging nuts. His claim of contacting the spirit of Caligula who tells him Brass’s representation of him is 65% factually correct is a gut-buster, along with Guccione protesting to no one in general that CALIGULA “isn’t pornography, it’s paganography”. Vidal speaks mostly about his screenplay and Roman history, pausing only to lament upon what was done to his script. I don’t think I could stay in a room with the man for more than five minutes much less try and create a collaborative piece of art with him. Also included is a truncated 10-minute version of THE MAKING… which only goes to show even a documentary on CALIGULA suffers the same fate of its subject.
Digital Roadshow Productions turns in two newly created featurettes. The first is the 24-minute long MY ROMAN HOLIDAY WITH JOHN STEINER. British-born Steiner, who plays the role of Loginus in CALIGULA, takes a look back at his long career in the Italian exploitation industry with many amusing anecdotes. The second is CALIGULA’S PET: A CONVERSATION WITH LORI WAGNER, which clocks in at 28 minutes. Both featurettes are welcome editions to the film’s history.
But wait, there’s more! Another new featurette, the highly interesting 34 minute TINTO BRASS: ORGY OF POWER is included. There’s a multitude of stills broken down by category: Color, B/W, Promotional and Behind-The-Scenes. Included in the DVD-ROM supplements are Vidal’s 1975 first draft screenplay, the 1976 version of it, press kit materials, William Howard’s novelization and pictorials from the special Penthouse CALIGULA issue. You also receive a reprint of the collector’s edition magazine Girls Of Caligula featuring Wagner and Anneka Di Lorenzo as well as a Bob Guccione interview. Whew.
There’s so much to say about CALIGULA and its production that I couldn’t possibly accomplish it here. Websites such as caligulathemovie.com and its entry on the IMDB (with an incredibly detailed listing of alternate cuts) are excellent primers for new viewers and a quick refresher course for anyone looking to re-acquaint themselves with the film. I can’t help but feel that THE IMPERIAL EDITION is historic in a sense, much like it’s subject matter (especially with the inclusion of all this related material). CALIGULA will always have a place in cinematic history as being one of the most controversial films ever made. As it stands, this exhaustive release is a testament to the film’s creators and its own twisted legacy, making it a must for any serious film conisseur, whether they’ve enjoyed it or not. (Eric Matthew Harvey)