Caligula (film)

Caligula (Template:Langx) is a 1979 erotic historical drama film about the rise and fall of Roman Emperor Caligula. The film stars Malcolm McDowell in the title role, alongside Teresa Ann Savoy, Helen Mirren, Peter O'Toole, John Steiner, and John Gielgud.

Original screenwriter Gore Vidal and film director Tinto Brass both disavowed the extensive changes to their contributions, with Brass dismissed prior to editing. Financier/producer Bob Guccione, founder of Penthouse magazine, engaged Giancarlo Lui to film post-production scenes featuring hardcore sex, significantly altering the film's tone and style.<ref>What Culture#14 Template:Webarchive: Caligula</ref>

Initially released to Italian cinemas in 1979, then screened in the United States the following year, Caligula was met with legal issues and controversies over its violent and sexual content. Different abridged versions were released worldwide, while its uncut form remains banned in several countries.<ref>Template:Cite web</ref> Despite a generally negative reception, the film has gained notoriety as a cult classic<ref name=Hawes1>Template:Cite book</ref> with significant merit for its political content and historical portrayal.<ref>Template:Cite book</ref>

A 178-minute Ultimate Cut, approved by McDowell who always felt his performance was hindered in the original version, and consisting entirely of new archival footage not used for the previous theatrical release, premiered at the Cannes Film Festival in 2023, receiving more favourable reviews from critics.<ref>Template:Cite web</ref>

Plot

Caligula is the young heir to the throne of his great-uncle, Emperor Tiberius. One morning, a blackbird flies into his room; Caligula considers this a bad omen. Shortly afterward, one of the heads of the Praetorian Guard, Naevius Sutorius Macro, tells Caligula that Tiberius demands his immediate presence at Capri, where the Emperor lives with his close friend Nerva, Caligula's dim-witted uncle Claudius, and Caligula's cousin (Tiberius's grandson) Gemellus. Fearing assassination, Caligula is afraid to leave, but his sister and lover Drusilla persuades him to go.

At Capri, Caligula finds that Tiberius has become depraved, showing signs of advanced venereal diseases and embittered with Rome and politics. Tiberius enjoys swimming with naked youths and watching degrading sex shows that include deformed people and animals; Caligula observes with fascination and horror. Tensions rise when Tiberius tries to poison Caligula in front of Gemellus. Nerva commits suicide and Caligula tries to kill Tiberius but loses his nerve. Proving his loyalty to Caligula, Macro kills Tiberius instead with Gemellus as a witness.

After Tiberius's death and burial, Caligula is proclaimed the new Emperor, then proclaims Drusilla as his equal, to the apparent disgust of the Roman Senate. Drusilla, fearful of Macro's influence, persuades Caligula to get rid of him. Caligula sets up a mock trial in which Gemellus is intimidated into testifying that Macro murdered Tiberius, then has Macro's wife Ennia banished from Rome. After Macro is executed in a gruesome public game, Caligula appoints Tiberius's former adviser Longinus as his personal assistant while pronouncing the docile Senator Chaerea as the new head of the Praetorian Guard.

Drusilla tries to find Caligula a wife among the priestesses of the goddess Isis, the cult they secretly practice. Caligula wants to marry Drusilla, but she insists they cannot marry because she is his sister. Instead, Caligula marries Caesonia, a priestess and notorious courtesan, after she bears him an heir. Drusilla reluctantly supports their marriage. Meanwhile, despite Caligula's popularity with the masses, the Senate expresses disapproval for what initially seem to be light eccentricities. Darker aspects of Caligula's personality emerge when he brutally rapes a virgin bride and her husband on their wedding day in a minor fit of jealousy and orders Gemellus's execution to provoke a reaction from Drusilla.

After discovering that Caesonia is pregnant, Caligula develops a severe fever. Drusilla nurses him back to health. Just as he fully recovers, Caesonia bears him a daughter, Julia Drusilla. During the celebration, Drusilla collapses with the same fever he had had. Soon afterward, Caligula receives another ill omen in the form of a blackbird. Despite his praying to Isis out of desperation, Drusilla dies from her fever. Initially unable to accept her death, Caligula has a nervous breakdown and rampages through the palace, destroying a statue of Isis while clutching Drusilla's body.

Now in a deep depression, Caligula walks the Roman streets disguised as a beggar; he causes a disturbance after watching an amateur performance mocking his relationship with Drusilla. After a brief stay in a city jail, Caligula proclaims himself a god and becomes determined to destroy the senatorial class, which he has come to loathe. The new reign he leads becomes a series of humiliations against the foundations of Rome - senators' wives are forced to work in the service of the state as prostitutes, estates are confiscated, the old religion is desecrated, and the army is made to embark on a mock invasion of Britain. Unable to further tolerate his actions, Longinus conspires with Chaerea to assassinate Caligula.

Caligula enters his bedroom where a nervous Caesonia awaits him. Another blackbird appears but only Caesonia is frightened of it. The next morning, the two rehearse an Egyptian play, Claudius becomes suspicious of Chaerea and follows him to the event. Shortly, Caligula and his family are attacked in a coup headed by Longinus and Chaerea. Caesonia and Julia are murdered, and Chaerea stabs Caligula in the stomach. With his final breath, the Emperor defiantly whimpers "I live!" as his and his family's bodies are thrown down the stadium's stairs. Claudius witnesses the entire ordeal and is horrified even after being proclaimed Emperor by the Praetorian Guard. The people of Rome, having grown accustomed to the overall chaos, clean the blood off the marble floors.

Production

Development

Gore Vidal was paid $200,000 to write the screenplay for Caligula.<ref name="Guccione interview"/> Ultimately, the film credited no official screenwriter, only that it was "adapted from a screenplay" by Vidal.

The men's magazine Penthouse had long been involved in film funding, helping invest in films made by other studios, including Chinatown, The Longest Yard and The Day of the Locust, but it had never produced a film on its own.<ref name="Guccione interview"/> The magazine's founder Bob Guccione wanted to produce an explicit adult film within a feature film narrative that had high production values; he decided to produce a film about the rise and fall of the Roman emperor Caligula.<ref name=epicencyclopedia115>Template:Cite book</ref> Development began under producer Franco Rossellini, the nephew of filmmaker Roberto Rossellini.<ref name="Guccione interview"/> A screenplay was written by Lina Wertmüller, but Guccione rejected Wertmüller's script and hired Gore Vidal to write a new screenplay.<ref name=newyorkmar79>Template:Cite journal</ref> Vidal's script had a strong focus on homosexuality, leading Guccione to demand rewrites which toned down the gay content for wider audience appeal. Guccione was concerned that Vidal's script contained several gay sex scenes and only one scene of heterosexual sex, which was between Caligula and his sister Drusilla.<ref name=newyorkmar79/><ref name=whatwildectasy266/> Vidal was paid $200,000 for his screenplay, titled Gore Vidal's Caligula.<ref name="Guccione interview"/>

Elaborate sets were built by production designer Danilo Donati, who also designed the film's costumes, jewelry, hairstyles, wigs, and makeup.<ref name="Guccione interview"/> Several mainstream actors were cast, Guccione intending to make a film that he felt, like Citizen Kane, would be a landmark in cinematic history.<ref name=whatwildectasy266>Template:Cite book</ref> Guccione offered directing duties to John Huston and Lina Wertmüller, both of whom rejected the film.<ref name="Guccione interview">Template:Cite journal</ref> After viewing scenes from the film Salon Kitty, Guccione agreed to have lunch with that film's director, Tinto Brass, believing Brass would be the ideal person to direct Caligula.<ref name=whatwildectasy266/> Brass had a reputation for being difficult to deal with on film sets but Guccione thought the film's epic scope would "keep [Brass] in line" and that Brass understood the concept of the film enough to direct it.<ref name="Guccione interview"/> Brass described Vidal's screenplay as "the work of an ageing arteriosclerotic" and agreed to direct only if he was allowed to rewrite Vidal's screenplay.<ref name=whatwildectasy266/> Brass's screenplay expanded the sexual content to include orgies, decorative phalluses, and much female nudity.<ref name=whatwildectasy266/> Guccione said Brass's rewrites were done out of necessity to the film's visual narrative and did not alter the dialogue or content.<ref name="Guccione interview"/>

In an interview for Time magazine, Vidal said that in film production, directors were "parasites" and a film's author was its screenwriter; in response, Brass demanded Vidal's removal from the set and Guccione agreed.<ref name="Guccione interview"/> Guccione considered the film to be a "collective effort, involving the input of a great number of artists and craftsmen", and the director to be the leader of a "team effort".<ref name="Guccione interview"/> Vidal filed a contractual dispute over the film because of Brass's rewrites;<ref name="Guccione interview" /> Guccione said Vidal had demanded 10% of the film's profits, which Vidal said was not the case.<ref name=newyorkmar79/> Vidal distanced himself from the production, calling Brass a "megalomaniac". Brass publicly stated, "If I ever really get mad at Gore Vidal, I'll publish his script".<ref name="Time article">Template:Cite news</ref> Vidal's name was removed from the film's title; the credits were changed to state that the film was "adapted from a screenplay by Gore Vidal", crediting no official screenwriter.<ref name=Weldon87>Template:Cite book</ref> Guccione said, "Gore's work was basically done and Tinto's work was about to begin".<ref name="Guccione interview" />

Themes

The film's primary theme is "absolute power corrupts absolutely".<ref name=Prince350/> Vidal's script presented Caligula as a good man driven to madness by absolute power;<ref name=whatwildectasy266/> Brass's screenplay envisioned Caligula as a "born monster".<ref name=whatwildectasy266/> In The Encyclopedia of Epic Films, author Djoymi Baker describes Brass's screenplay as "an antiepic with an antihero, on a path of self-inflicted, antisocial descent".<ref name=epicencyclopedia118>Template:Cite book</ref> Guccione said this final draft was more violent than sexual, stating, "I maintain the film is actually anti-erotic ... in every one of its scenes you'll find a mixture of gore or violence or some other rather ugly things".<ref name=Prince350/>

Casting

Orson Welles was initially offered $1 million to star as Tiberius,<ref>Brady, Frank (1990) Citizen Welles, London: Hodder & Stoughton. ISBN 9780340513897. p. 563</ref> a figure which would have been his highest ever salary, but he refused on moral grounds when he read the script. Gore Vidal expressed disbelief that this could have ever been the case as he felt that Welles could not have portrayed Tiberius, but then recalled Kenneth Tynan remarking to him at the time that Welles was "upset" by the script.<ref>Vidal, Gore (1989) "Remembering Orson Welles", New York Review of Books, June 1, 1989</ref> Renowned actors who did accept roles in the film included Malcolm McDowell, Helen Mirren, Peter O'Toole and Sir John Gielgud, with Maria Schneider cast as Caligula's doomed sister Drusilla.<ref name="Time article"/> Schneider became uncomfortable with appearing nude and in sexual scenes, and left the production, to be replaced by Teresa Ann Savoy, with whom Brass had previously worked on Salon Kitty.<ref name="Time article"/> Schneider had also apparently angered Brass by sewing up the open tunics she was supposed to wear on camera.<ref>"Stracult Movie - Therese Ann Savoy" Template:Webarchive, Video Rai TV (July 31, 2012)</ref> Gielgud was also offered the role of Tiberius, which he declined, as he felt Vidal's script was "pornographic", but he later accepted the shorter role of Nerva.<ref name=Hawes105>Template:Cite book</ref> Director Tinto Brass cast his own acquaintances as senators and noblemen, including ex-convicts, thieves and anarchists.<ref name="Guccione interview"/><ref name="nymag.com">Template:Cite web</ref> Guccione cast Penthouse Pets as female extras in sexual scenes.<ref name="Guccione interview"/>

Filming

Malcolm McDowell was cast as Caligula, a "born monster"<ref name=whatwildectasy266/> who serves as the film's antihero.<ref name=epicencyclopedia118/>

Principal photography began in 1976 in Rome.<ref name="Guccione interview"/> McDowell got along well with Tinto Brass, while Peter O'Toole immediately disliked the director. John Gielgud and Helen Mirren were indifferent to Brass; they ultimately trusted his direction and focused on their own performances.<ref name="Guccione interview"/> O'Toole had stopped drinking alcohol before filming, but Guccione described O'Toole as being "strung out on something" and said the actor was not sober during the entire filming schedule.<ref name="Guccione interview"/>

Guccione later complained about McDowell's behaviour, calling the actor "shallow" and "stingy". According to Guccione, during the film's production, McDowell took members of the production to dinner at an expensive restaurant to celebrate England's win in a football match against the Italian team, and left the choreographer to pay for the meal, saying he had forgotten to bring enough money.<ref name="Guccione interview"/> Also according to Guccione, at the end of the production, McDowell gave his dresser a pendant bearing her name, but it was misspelled and she gave it back to him. McDowell offered her a signet ring, a prop from the film. She refused because it belonged to the production company.<ref name="Guccione interview"/>

Brass decided not to focus much on Danilo Donati's elaborate sets, and intentionally kept the Penthouse Pets in the background during sex scenes, sometimes not filming them at all. Guccione later said that Brass, apparently as a joke, would focus on "fat, ugly and wrinkled old women" and have them play the "sensual parts" intended for the Penthouse Pets.<ref name="Guccione interview"/> Brass and Guccione disagreed about the film's approach to sexual content; Guccione preferred unsimulated sexual content that Brass did not want to film.<ref name=Richards157>Template:Cite book</ref>

Post-production

Tinto Brass served as the film's director, but disowned the film in post-production, and was credited only for "principal photography".<ref name=Denby/>

Filming concluded on 24 December 1976.<ref name="Guccione interview"/> Guccione said Brass shot enough film to "make the original version of Ben-Hur about 50 times over".<ref name="Guccione interview" /> Brass started editing the film but was not allowed to continue after he had edited approximately the first hour of it. His rough cut was disassembled, and the film was edited by several editors, changing its tone and structure significantly by removing and re-arranging many scenes, using different takes, a slower editing style, and music other than Brass intended.<ref>Template:Cite web</ref>

A few weeks after filming had concluded, Guccione and Giancarlo Lui returned to Rome along with several Penthouse Pets. Guccione and Lui "hired a skeleton crew, snuck back into the studios at night, raided the prop room"<ref name="Guccione interview"/> and shot a number of hardcore sex scenes to be edited into the film.<ref name="nymag.com" /><ref name=Richards157/> The new unsimulated sex scenes included Penthouse pets Anneka Di Lorenzo and Lori Wagner, who appeared as supporting characters in Brass's original footage. Both performed a lesbian scene together.<ref name="Guccione interview"/> Brass ultimately disowned the film<ref name=Denby/> as a result, and the credits only list "principal photography by Tinto Brass".<ref>Deborah Cartmell, Ashley D. Polasek, A Companion to the Biopic, John Wiley & Sons Inc, 2019, p. 180</ref>

Although there were a number of editors on the film, their names were not credited. Instead, the credit "Editing by the Production" is given during the opening credits.Template:Citation needed

As it was intended for an international release, the film was shot entirely in English. It was shot with sound, but there was so much noise at the studios that the main English-speaking actors had to re-record many of their lines later.<ref>Template:Cite web</ref> However, as many of the supporting actors/actresses were Italian, their lines needed to be dubbed in English by other performers.<ref name=Hawes108>Template:Cite book</ref>

Peter O'Toole was reluctant to re-record his English dialogue; he avoided the film's producers, though they eventually tracked him down to Canada where they "dragged him in front of a mike" to record his dialogue. After production ended, O'Toole expressed his dislike of the film (although, according to Guccione, he had not even seen the rushes) and doubted that it would ever be released.<ref name="Guccione interview"/>

Caligula spent so much time in post-production that the film's co-producer Franco Rossellini feared that it would never be released. Rossellini then decided to make CaligulaTemplate:'s expensive sets and costumes profitable by using them in Messalina, Messalina!, a sex comedy directed by Bruno Corbucci. That film was released in Italy in 1977, two years before Caligula could be shown to the public. In some territories, it was released after Caligula and falsely marketed as its sequel. Anneka Di Lorenzo (as the title character) and Lori Wagner both reprised their roles from Caligula in Corbucci's film. Danilo Donati's sets and costumes were reused without his permission.<ref name="CinIta">Template:Cite book</ref>

Soundtrack

Template:Infobox album The film was scored by Bruno Nicolai under the name Paul Clemente.<ref name="Hawes233"/><ref name="Spencer125"/> According to Kristopher Spencer, the score "is gloriously dramatic, capturing both the decadent atmosphere of ancient Rome and the twisted tragedy of its true story".<ref name=Spencer125/> The score also featured music by Aram Khachaturian (from Spartacus) and Sergei Prokofiev (from Romeo and Juliet).<ref name=Spencer125/> In November 1980, Guccione formed Penthouse Records to release a double album soundtrack to Caligula.<ref name=BillboardNov1980>Template:Cite book</ref> The album featured Nicolai's score and two versions—one in a disco style—of the love theme "We Are One", which did not appear in the film.<ref name=Spencer125/><ref>Template:Cite book</ref>

Release

Helen Mirren was cast as Caesonia, wife of Caligula. Mirren described the film as an "irresistible mix of art and genitals".<ref name=Hawes191>Template:Cite book</ref>

An edited version of the film had a limited run in a small town near Forlì, Italy before opening in Rome on Sunday, November 11, 1979.<ref name=seize/> In Rome, it was the highest-grossing film of the weekend, with a gross of $59,950 (Template:Inflation) from 6 theaters.<ref name=var>Template:Cite magazine</ref><ref name=seize>Template:Cite magazine</ref> The film was confiscated by Italian police on November 15 with the Pubblico Ministero calling many scenes in the film "flagrantly obscene".<ref name=seize/>

In the United States, Guccione refused to submit Caligula to the MPAA because he did not want the film to receive a ratingTemplate:Mdasheven XTemplate:Mdashwhich he considered to be "demeaning".<ref name=whatwildectasy268>Template:Cite book</ref> Instead, Guccione applied his own "Mature Audiences" rating to the film, instructing theater owners not to admit anyone under the age of 18.<ref name=Vaughn73/> The film premiered in the United States on 1 February 1980, at the Trans Lux East Theatre, which Guccione had rented exclusively to screen the film; he changed the theater's name to Penthouse East.<ref name=Hawes196>Template:Cite book</ref>

Rather than leasing prints to exhibitors, the distributor rented theaters that specialized in foreign and art films for the purpose of screening Caligula exclusively<ref name=Prince348>Template:Cite book</ref> in order to keep the film out of theaters that showed pornographic films.<ref name=Vaughn73>Template:Cite book</ref><ref name=Prince348/><ref name=Vaughn74/> In 1981, the Brazilian Board of Censors approved the establishment of special theaters to screen In the Realm of the Senses and Caligula because they were international box office hits.<ref>Template:Cite book</ref>

Caligula grossed Template:USD (equivalent to $Template:Inflation million in Template:Inflation/year) at the box office.<ref name=thenumbers/><ref>Template:Cite book</ref> The film was a financial success in France, Germany, Switzerland, Belgium, the Netherlands and Japan.<ref name=BillboardNov1980/> A 102-minute R-rated version without the explicit sexual material was released in 1981.<ref name=Weldon87/><ref>Template:Cite book</ref><ref>Template:Cite book</ref>

The script was adapted as a novelisation by William Johnston using the pseudonym William Howard.<ref name="Spencer">Template:Cite journal</ref>

Legal problems

In 1979, when Guccione tried to import the film's footage into the U.S., customs officials seized it. Federal officials did not declare the film to be obscene.<ref name=Vaughn74>Template:Cite book</ref> When the film was released in New York City, the anti-pornography organization Morality in Media unsuccessfully filed a lawsuit against these federal officials.<ref name=Vaughn74/>

In Boston, authorities seized the film.<ref name=Vaughn74/> Penthouse took legal action, partly because Guccione thought the legal challenges and moral controversies would provide "the kind of [marketing] coverage money can never buy".<ref name=Prince349>Template:Cite book</ref> Penthouse won the case when a Boston Municipal Court ruled that Caligula had passed the Miller test and was not obscene.<ref name=Prince349/> While the Boston judge said the film "lacked artistic and scientific value" because of its depiction of sex and considered it to "[appeal] to prurient interests", he said the film's depiction of ancient Rome contained political values which enabled it to pass the Miller test in its depiction of corruption in ancient Rome, which dramatized the political theme that "absolute power corrupts absolutely".<ref name=Prince350>Template:Cite book</ref> A Madison, Wisconsin, district attorney declined an anti-pornography crusader's request to prevent the release of Caligula on the basis that "the most offensive portions of the film are those explicitly depicting violent, and not sexual conduct, which is not in any way prohibited by the criminal law".<ref name=Prince350/>

Atlanta prosecutors threatened legal action if the film was to be screened in the city, but experts testified in court on behalf of the film, and Atlanta, too, declared that the film was not obscene.<ref name=Vaughn74/> Citizens for Decency through Law, a private watchdog group that protested against films that it deemed immoral, sought to prevent the film's exhibition in Fairlawn, Ohio, on the grounds that it would be a "public nuisance", leading Penthouse to withdraw the film from exhibition there to avoid another trial.<ref name=Prince350/> CDL's lawyer advised against attempting to prosecute Penthouse for obscenity and instead recommended a civil proceeding, because the film would not be placed against the Miller test.<ref name=Prince350/> The Penthouse attorney described the Fairlawn events as being driven by conservative morality reinforced by Ronald Reagan's presidential victory, stating: "Apparently, these extremists have interpreted a change by the administration to mean a clarion call for a mandate to shackle the public's mind again."<ref name=Prince350/> The uncut film was granted a certificate by the British Board of Film Classification in 2008. The film was banned in Australia, where it continued to be banned in its uncut form until 2021.<ref>Template:Cite book</ref><ref>Template:Cite web</ref>

In 1981, Anneka Di Lorenzo, who played Messalina, sued Guccione, claiming sexual harassment. In 1990, after protracted litigation, a New York state court awarded her $60,000 in compensatory damages and $4 million in punitive damages. On appeal, the court vacated the award, ruling that punitive damages were not allowed by the law governing the case.<ref>Template:Cite web</ref>

Contemporary reviews

Peter O'Toole was cast as Tiberius in the film, a role originally offered to John Gielgud.<ref name=Hawes105/>

Caligula received generally negative reviews. Roger Ebert gave it zero stars, calling it "sickening, utterly worthless, shameful trash". Ebert wrote: "In the two hours of this film that I saw, there were no scenes of joy, natural pleasure, or good sensual cheer. There was, instead, a nauseating excursion into base and sad fantasies."<ref name="ebert19800922" /> It was one of the few films Ebert ever walked out of—he walked out 2 hours into its 170-minute length after feeling "disgusted and unspeakably depressed".<ref name="ebert19800922">Template:Cite news</ref> He and Gene Siskel selected the film as one of their "dogs of the year" in a 1980 episode of Sneak Previews.<ref>Template:Cite web</ref> Hank Werba of Variety described the film as a "moral holocaust" in his review.<ref name=varrev>Template:Cite magazine</ref><ref>Template:Cite web</ref> Rex Reed called Caligula "a trough of rotten swill".<ref name="nymag.com" /> Jay Scott, reviewing Caligula for The Globe and Mail, said, "Caligula doesn't really work on any level".<ref name="js">Jay Scott, The Globe and Mail, February 7, 1980.</ref> Scott unfavourably compared Caligula with In the Realm of the Senses, describing the latter film as a better treatment of extreme sexuality.<ref name="js" /> Scott's review went on to say "Rome would seem to be at least as fecund a territory for the cinematic exploration of sex, death and money, as pre-war Japan ... but what's missing from Caligula, which is rife with all three, is any connective tissue (also any point of view, any thought, any meaning)".<ref name="js" /> Scott concluded his review by claiming the whole film's production was "a boondoggle of landmark proportions".<ref name="js" /> New York critic David Denby described the film as "an infinitely degraded version of Fellini Satyricon".<ref name=Denby>Template:Cite journal</ref> Tom Milne (Monthly Film Bulletin) stated that the film was "by no means so awesomely bad as most critics have been pleased to report—but pretty bad all the same" and found the film to be "notable chiefly for the accuracy with which it reflects [Caligula's] anonymity".<ref name="mfb">Template:Cite magazine</ref>

Legacy

Several films were released in the following years as attempts to cash in on CaligulaTemplate:'s reputation, including Caligula and Messalina (1981), directed by Bruno Mattei and Caligula... The Untold Story (1982), directed by Joe D'Amato. Like Caligula, D'Amato's film exists in several softcore and hardcore versions.<ref>Grattarola, Franco; Napoli, Andrea (2014). Luce Rossa. La nascita e le prime fasi del cinema pornografico in Italia. Roma: Iacobelli Editore, pp. 278-280</ref>

In 1985, the hardcore version of Caligula was broadcast in France on Canal+, making it the first film with unsimulated sex scenes ever shown on French television. The film, which had been broadcast as a test, became the starting point of Canal+'s tradition of showing one pornographic film at midnight every month.<ref>Du carré blanc au film porno de Canal+, une brève histoire du sexe à la télévision Template:Webarchive, Le Parisien, 30 October 2021</ref><ref>la recherche du porno perdu Template:Webarchive, Libération, 14 October 2019</ref>

Caligula continued to garner negative reception long after its release. Template:Rotten Tomatoes prose<ref name=RottenTomatoes>Template:Cite web</ref> Writers for The Hamilton Spectator and St. Louis Post-Dispatch said Caligula was one of the worst films they'd seen.<ref>"Lowest:100 Really Bad Moments in 20th Century Entertainment". The Hamilton Spectator, July 24, 1999 (p. W17).</ref><ref>Joe Holleman, "Roman Warriors roam the big screen again". St. Louis Post-Dispatch May 5, 2000 (p. E1).</ref> Writing for The A.V. Club, Keith Phipps said, "As a one-of-a-kind marriage of the historical epic and the porn film ... Caligula deserves a look. But it might be better to let Guccione's savagely unpleasant folly fade into the century that spawned it".<ref>Keith Phipps (April 23, 2002) Caligula Template:Webarchive. The AV Club. Retrieved January 12, 2014.</ref>

Leslie Halliwell said Caligula was "a vile curiosity of interest chiefly to sado-masochists".<ref>Photoplay Magazine, Volume 38, 1987 (p.38)</ref> Time Out London called it "a dreary shambles".<ref>Template:Cite web</ref> 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".<ref name=RottenTomatoes/> 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".<ref name=RottenTomatoes/> Arkansas Democrat-Gazette reviewer Philip Martin also gave the film 3 out of 5.<ref name=RottenTomatoes/>

Retrospective recognition

Caligula has been described as a "cult classic" by William Hawes in a book about the film.<ref name=Hawes1/> Helen Mirren has defended her involvement in the making of Caligula and even described the final product of the film as "an irresistible mix of art and genitals".<ref name=Hawes191/>

In 2005, artist Francesco Vezzoli produced a fake trailer for an alleged remake called Gore Vidal's Caligula as a promotion for Versace's new line of accessories; the fake trailer featured Mirren as "the Empress Tiberius", Gerard Butler as Chaerea, Milla Jovovich as Drusilla, Courtney Love as Caligula and Karen Black as Agrippina the Elder, and an introduction by Gore Vidal. It was screened worldwide, including New York City's Whitney Museum of American Art's 2006 Whitney Biennial.<ref>Template:Cite news</ref>

Leonardo DiCaprio has cited Caligula as an influence on his performance as Jordan Belfort in The Wolf of Wall Street.<ref>Template:Cite web</ref> Francis Ford Coppola's film Megalopolis has been compared to Caligula.<ref>Template:Cite web</ref>

2023 Ultimate Cut reconstruction

File:Caligula, The Ultimate Cut poster.jpeg

Poster for Caligula: The Ultimate Cut.

Producer Thomas Negovan announced a reconstruction of the film in 2020, seeking to follow Gore Vidal's original screenplay (rather than the visions of either Brass or Guccione).<ref name="auto1">Template:Cite web</ref> Consisting of previously unreleased material, this 178-minute Ultimate Cut premiered at the 2023 Cannes Film Festival. Brass responded by taking legal action against Penthouse Films, saying: "After numerous and fruitless negotiations that have followed over the years, first with the Penthouse and then with other unclear individuals, to edit the material that I shot and which had been found in the Penthouse archives, a version has been created on which I did not take part and which I am convinced will not reflect my artistic vision. [...] The Cannes audience will therefore be misled by the arbitrary use of my name."<ref name=Vivarelli>Template:Cite web</ref> McDowell responded positively to this version, writing on Instagram: "Because of the brilliant work of Thomas Negovan – one of my best performances has finally come to light after 47 years!"<ref>Template:Cite web</ref>

In April 2024, Drafthouse Films acquired the Ultimate Cut for North American distribution, and released it theatrically in August 2024, followed by a streaming and 4K UHD Blu-ray release, the latter of which featured new interviews with McDowell and Negovan.<ref>Template:Cite web</ref>

The Ultimate Cut received moderately positive reviews from critics. Template:Rotten Tomatoes prose<ref>Template:Cite web</ref> Template:Metacritic film prose<ref>Template:Cite web</ref>

See also

• List of films considered the worst

External links

• Template:Wikiquote-inline
• Template:IMDb title
• Template:Rotten Tomatoes
• Template:AFI film
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• Caligula on-set photographs by Mario Tursi, (unit photographer)
• Caligula and Italian censorship (in Italian)