One of my favorite scenes from Fellini’s Casanova is the dance that takes place between Casanova and his doll. Despite what the youtube description says, the ballerina doll is not an automaton, but a real person. It is indeed the actress Adele Angela Lojodice. For the occasion, makeup artist Rino Carboni transformed her into a doll, complete with hyper surreal wet and plastic-y complexion.
There’s something special about this part of the film because it reeks of antiquity but at the same time harbors a futuristic sense about it. The old clothing, the charming music of Nino Rota; but then, the robotic moves of the tiny doll. The entire scene is surreal, and an perfect image of ironic loneliness from another time.
In a time when loneliness and isolation has never been more prevalent, this scene represents an ideal romanticism of alienation.
Anyone who has ever glanced at Sudden Chic knows how much I adore Fellini.
The costumes, regal yet archaic — obsolete in today’s society — add another layer of enchantment. There was no sacrifice on extreme visuals in Fellini’s Casanova. Of course, Fellini’s entire idea of Casanova was unlike anything else anyone had ever imagined, especially in the film world. For the occasion, Donald Sutherland spent three hours each day being transformed with wigs, makeup and prosthetics. Other obscene, visual masterpieces include the scene where Casanova rows a boat in a sea of black plastic. Or when Casanova goes to the opera, and the behind-the-scenes of the massive candle chandeliers are extinguished. Casanova then goes on to have a conversation with his mother.
Lastly, another transfixing scene from Fellini’s Casanova is the dinner. Not surprisingly, the film won an Academy Award for Best Costume Design, by Danilo Donati.
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