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The first time I watched Fellini’s SATYRICON, I had the same reaction I had after watching the horror film JACOB’S LADDER –namely, “What in the hell did I just watch?” Though not a horror film, it brings the same surrealist sensibilities as any other Fellini film, including NIGHTS OF CABIRIA, CASSANOVA and the classic LA DOLCE VITA. As an Italian film, it’s more sexually blatant than any non-porn American film of the time (1960’s).

THAT’S what threw me off! I watched it thinking I had just witness late-60’s soft core porn and exploitation, but on second viewing, it wasn’t that at all. Why would this film be included in VIVID.ID? It’s filled with Black women characters, but they have virtually no speaking parts but represent larger ideas of salvation and redemption!

Set in imperialist, ancient pagan Rome and on Petronius¢ “Satyricon” and Roman frescoes, this film’s commentary on the hedonism and exploitation will shock and disturb many viewers. However, if you’ve ever seen any episodes of HBO’s ROME, it shouldn’t surprise you…at all. Our protagonist is a young man surviving and finding his way through the dangers of ancient Rome. If you thought being a fine young woman in ancient Rome was dangerous, try being a fine young man. If you understood that sentence, then you that you’re going to have to leave your righteousness at the door to see SATYRICON.

The absurdist storyline follows the young man as he blossoms into ancient Roman manhood. He is expected to find his salvation in virility and domination. He fails miserably –and many times laughably– as he attends unfamiliar pagan rites and he cannot understand why he cannot “perform” as a man, thus become a man. His dalliances are many, but he’s never in control, and hence, he is still a child destined to be led by others and ruled by women.

It isn’t until he meets with various Black women in Rome that he finds some glimpse of the salvation and redemption he seeks in becoming a man. When he interacts with white women in his life, they appear manipulative, “social climbers,” and willing to use their sexuality as a stepping stone to greater things in life. His experiences with Black women appear to be life itself, with the act itself as the salvation to his existence and the universe. When he finally meets the consummate Black woman in Africa –who represents womanhood, wisdom, perfection and bliss– his wish is fulfilled and the act is presented as in favor of “the gods,” and as the direct acceptance of his entry into manhood by “the goddess” herself.

As I mentioned before, if you’re uncomfortable with direct sexuality within the context of excellent storytelling and filmmaking, then don’t see SATYRICON. If you’re willing to look deeper into the psyche of salvation, redemption and rites-of-passage of ancient sensibilities, then sit down and watch SATYRICON.

Other Resources:

• Fellini Satyricon, Lawrence Russell – http://www.culturecourt.com/F/Fellini/FSat.htm
• Satyricon, Wikipedia – http://en.wikipedia.org/wiki/Satyricon_(film)
• Review of Satyricon, Dan Schneider – http://www.cosmoetica.com/B526-DES452.htm
• Fellini’s Satyricon (1969) on DVD FELLINI’S SATYRICON (1969) – dir. Federico Fellini

NOTHING BUT A MAN is an intense, narrative film from the early-1960’s. It documents the struggles of an African American couple trying to live in dignity and purpose in a tumultuous, small, southern town. Better known today as an activist and jazz pianist, former model and actress Abbey Lincoln stars as Josie, the quiet but determined school teacher who falls for an itinerant railroad worker –the actor Ivan Dixon who stars as Duff Anderson.

At first the love connection seems awkward and a complete mismatch of class, education and goals, but as the worker falls for her, she can see that he has loftier aspirations than that of an underpaid migrant worker toiling away in harsh conditions.

Filmed in the French “new wave” style of realism filmmaking, NOTHING BUT A MAN almost seems like a documentary of a small southern town and of the largely African American population who seem to be just one generation removed from the town’s enslavement era past. The film also chronicles the transitional period of many Black families and individuals during the Great Migration north to urban areas for more opportunity outside of the constraints of their rural towns.

We then see that the character Duff, he is a representation of the south’s changing economy from rural agriculture to the industrial north. When the character finds a job at the local mill, a new set of problems plague the newlyweds. Labor issues, unsafe working conditions and low pay are no longer acceptable for the couple and their growing family.

As Duff transforms from his former life of temporariness to one of permanence with his new family, the audience will find itself cheering on the love that Josie represents, but the audience will also fear the pitfalls that seem to beleaguer her relationship with Duff at every turn.

NOTHING BUT A MAN is an ode to the changing African American community during the mid-century, and a testiment to their resilience during a time of great upheaval and transformation.