Fellini's Casanova

Federico Fellini - 1976
Fellini's images, by this stage, really can be remarkable. He often uses, say, a bowl of fruit, something riotously saturated or so on with lights, on one half of the image, and Donald Sutherland on the other. This juxtaposition isn't one negating the other, but in fact emphasising it.
The seascape, among other images, is clearly 'fantasy'. What Fellini does specially is that he asks the audience to extend their imagination, making all his films at Cinecitta, not just his own imagination, but sharing it, asking us to extend ours.
The strange thing about Fellini's images is that he doesn't really stick very long on them. He cuts surprisingly quickly, one to the other. Tough to say why; I think it would be way too simple to talk about commercialism.
Fellini is fascinating in, to make a rather simplistic analysis, he takes the unusual answer to a normal question; the vapid life or pleasure? He, in his films, explores pleasure, in a way perhaps more complicated than others (does, say Bunuel examine this in a way?). The theme of innocence remains; is Casanova still 'innocent', trying to keep something alive? Yes, probably. But what is innocence, a touch of love in this world? A 'fake' love, a machine...