Caligula's release was met with legal issues and controversies over its violent and sexual content; multiple cut versions were released worldwide, while its uncut form remains banned in several countries.[12] Despite the generally negative reception, with some critics also citing it among the worst movies ever made, the film is considered to be a cult classic[13] with significant merit for its political content and historical portrayal.[14]
Caligula continued to garner negative reception long after its release, though it has been reappraised by some critics, and attempts have been made to reconstruct a version of the film that more closely resembles the visions of either Tinto Brass or Gore Vidal. Review aggregate Rotten Tomatoes gives the film a score of 22% based on 32 reviews, with an average rating of 3.9/10. The site's critical consensus reads: "Endlessly perverse and indulgent, Caligula throws in hardcore sex every time the plot threatens to get interesting."[53] Leslie Halliwell said Caligula was "a vile curiosity of interest chiefly to sado-masochists".[60] Time Out London called it "a dreary shambles".[61] Positive criticism of the film came from Moviehole reviewer Clint Morris, who awarded it 3 stars out of 5, calling it "[a] classic in the coolest sense of the word".[53] New Times critic Gregory Weinkauf gave the film 3 out of 5, calling it "Kinda dumb and tacky, but at least it's a real movie".[53] Arkansas Democrat-Gazette reviewer Philip Martin also gave the film 3 out of 5.[53]
caligula english movie
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The self constantly looks for that moment where it is the agent of its path, a moment that affirms its indissoluble autonomy and its existential freedom. That precise moment defines many a character we will examine in our readings and in the movies. In a breath of fresh air, they inhale freedom, and their actions thereon translate an evilness that cannot be dismissed, as they come face to face with their human limitations. Can we understand evil as an assertion of freedom in the face of our unwavering fate? Or is it merely a byproduct of our struggle against fate? Does committing evil become a 'collateral damage'? or the essence of that freedom? Does (self-) destruction become an automatic result? Finally, does our perception of evil differ, across time and space? In this class, we will address these issues through close reading and writings about literary, philosophical and film texts from a variety of cultural contexts: from Classical Greece to Elizabethan England to Twentieth-Century France and Egypt. We will examine how various characters in literature and film express and exercise their freedom, and how in the course of their actions, evil unfolds. Eventually, the aim of the class is to demonstrate whether we can understand evil through its relation to freedom and fate. 2ff7e9595c
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