caligula shares many of the same attributes as the 1970 fellini satyricon with bizarre sights and freakishness and and depictions of sexual excesses all set in the glory of ancient rome. but fellini it ain not. first of all it is not as entertaining. far too much screen time is devoted to bug eyed and rubber faced mcdowell in the titular role. his performance is far too fey and campy to be convincing. the portrayals by jay robinson in the robe (1953) and david cain haughton in emperor caligula (1983) are far more persuasive and believable and with the latter being the most nuanced. relief could have been judiciously provided by developing the surrounding characters more fully. as it is and they are little more than cyphers. one example is the role of macro and played by guido mannari who has tremendous screen presence in an important role and but is mostly left in the background. the only positive features to credit are the adroit use of some prokofiev and stravinsky themes in the music score and the inclusion of some of the distasteful but nevertheless accurate actions of the despot. these two factors are far less than what is needed to relieve the prevailing tedium and however. 
caligula shares many of the same attributes as the 1970 fellini satyricon with bizarre sights and freakishness and and depictions of sexual excesses all set in the glory of ancient rome. but fellini it ain not. first of all it is not as entertaining. far too much screen time is devoted to bug eyed and rubber faced mcdowell in the titular role. his performance is far too fey and campy to be convincing. the portrayals by jay robinson in the robe (1953) and david cain haughton in emperor caligula (1983) are far more persuasive and believable and with the latter being the most nuanced. relief could have been judiciously provided by developing the surrounding characters more fully. as it is and they are little more than cyphers. one example is the role of macro and played by guido mannari who has tremendous screen presence in an important role and but is mostly left in the background. the only positive features to credit are the adroit use of some prokofiev and stravinsky themes in the music score and the inclusion of some of the distasteful but nevertheless accurate actions of the despot. these two factors are far less than what is needed to relieve the prevailing tedium and however. ---------------------------------Answer Question Below----------------------------------

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