Caligula and Messalina

No pun intended - this is the third Caligula movie I have seen. All are about excesses ... about mad men in power of sorts. And have obviously the main character in common - although this revolves around a few more people than just him - the title already suggests that, so no brownie points for seeing through this (or any pieces of clothes that will allow that too).

Acting is all over the place, but I was only able to watch the English dubbed version. Not that what they filmed was one language - back then they used to film movies in many different languages in Italy that is. Anyhow the emotions are a bit lost - even those in the quite explicit scenes. But you probably will not watch it because of that. Many versions exist of the movie - and the movie is a quite the mess ... makes almost no sense, but tries to shock you.

Does not succeed in the way the other two movies were able to. This apparently builds upon other movies (there is one where Messaline is the main character), which I have not seen ... I doubt this would have fared better in my mind if I had though .. just saying.

Released in 1982, this is an Italian film which was probably intended to exploit the publicity associated with Tinto Brasso's notorious 1979 release "Caligola". It is clearly a low budget production, shot mainly in the studio, with a number of larger scale dramatic sequences borrowed from other films incorporated at points where these fit reasonably well. Several versions have been released, and run for significantly different times (for example, IMDb lists its running time at 111m, but my VHS copy runs only 92m 41s), so be aware that certain of my comments may not be applicable to all versions. The film provides an interesting study of the life of Messalina, the Roman Empress first married to the mad emperor Caligula and then after his assassination (which takes place at about the mid-point of the film) to his successor Claudius; and it would have been better titled Caligula and Claudius, or just Messalina. Historically it is not strictly accurate but probably provides a fairly realistic interpretation of life in Rome during the periods of the two Emperors concerned. The first half provides a beautifully crafted confirmation of the dictum that power corrupts and absolute power corrupts absolutely, but the second shows a very different scene when Claudius takes the throne, introduces careful and incorruptible administrators and rapidly repairs the damage to the fabric of Roman society caused by his predecessor. Presumably the intention is to show that absolute power does no more than give any ruler the freedom to behave in accordance with his natural character, and in this sense it can be regarded as a film with an important message to convey.

Historically the reign of Caligula is regarded as exceptionally violent and cruel, and the film has to make this clear to viewers who are not familiar with the history of this period. Whereas other filmmakers have succumbed to the temptation to exploit the violence in a pornographic way, it is greatly to the credit of this film that unnecessary violence has been largely avoided and much of that which is shown remains implicit rather than explicit. Caligula maintained a vast network of spies, and individuals who spoke against him would often disappear - probably to meet an unspeakable end. This is brought out early in this film, not by showing such a sudden disappearance and what followed, but by a restrained warning from one army officer to another who had been a little too loose in his conversation. There is a brief scene in a Roman torture chamber when plotters against the Emperor are being interrogated, but (in my copy at least) this is less explicit than similar scenes in many films depicting events in mediaeval Europe. A legend that Messalina, a very junior lady in Caligula's court, was trained by her mother to come to his attention by mastering such masculine skills as swordplay, and then demanding to demonstrate these, has been incorporated into the film; and the nearest it comes to becoming pornographic is during a fairly graphic swordplay sequence in the Coliseum which unexpectedly ends in not Messalina but the gladiator having to appeal to the Emperor to spare his life. This sequence clearly shows the violence and cruelty which was associated with the Roman Circus. However it forms an important part of the story, and in my opinion it is treated with enough restraint to be more acceptable than many of the violent scenes incorporated (with less reason) in certain films intended exclusively for children today. Later, even the assassination of Caligula is shown without a rather meaningless bloodbath involving all and sundry; and in the second half of the film after Claudius has taken the throne, the trust shown by the Emperor in his chosen advisers (both military and civil) is clearly brought out. Nudity?, yes there is nudity in many of the scenes showing the decadence of Caligula's Imperial Court, but it is never obtrusive - it always seems a natural part of any scene where it occurs. Afterwards, when looking back on the film, it is very hard to remember which scenes these were. There are none of the visual excesses to be found in films such as Tinto Brasso's "Caligola". Another sequence displays the continuing decadent life at Court after Caligula's death during a period when Claudius and his legions were campaigning in Britain, this very effectively shows decadence as an ongoing characteristic of life among the Roman ruling class of the period, not something which was introduced at the whim of a mad Emperor. This film is definitely not just softcore pornography, and it provides two very important lessons for us today. The first is that absolute power will only corrupt those rulers who are corruptible, whilst the second, even more important but maybe a little less obvious, is that mankind has changed very little during the past two millennia; and that many rulers, such as Hitler, Idi Amin, Pinochet or Sadaam Hussein who have been given absolute power during the past century, have shown a behaviour pattern very little different from that of Caligula.

Overall this film, together with Fellini's Satyricon, have both significantly contributed to my limited understanding of what life may have been like in classical Rome. No one today can really appreciate how it would have felt if they had been a part of Roman society, but we must recognise that, for most Roman citizens, family life continued under Roman law in what was probably a remarkably stable pattern for the period. This film is enjoyable to watch and, despite having been rated by many jurisdictions for 18+ viewing only, I believe that watching it would make a positive contribution to the history education of most high school children.

I like Tinto Brass' Caligula a lot - it's a daring piece and a visually fine crafted one. Two years later, in 1981, Caligula et Messaline was published - this flick is something like the pulp/trash version of Caligula: like in the work of Brass you get a lot of nudity and some violence, but everything is heavily tainted by schlock and the smell of cheese. Most of those scenes of softporn and violence are not shocking or erotic but rather funny. Anyway, Caligula et Messaline is to a certain degree entertaining - if you like that sword and sandal genre in general, this one spiced up with some wannabe (sex)ploitation. Final words: one of those movies who you can rightly claim guilt pleasure if you are able to enjoy the trip from start to end.

Made to cash in on the notoriety of Tinto Brass's 1979 movie 'Caligula', Italian trashmeister Bruno Mattei's 'Caligula and Messalina' is packed to the gills with depravity. Despite lacking the hardcore action and graphic gore to be found in Brass's movie, Mattei's production (available on German DVD in an uncut 108 minute version) is still fairly entertaining stuff.

John Turner stars as nutty Roman Emperor Caligula, who commits incest with his sisters, makes his horse a member of the Senate, and executes the innocent on a whim.

Messalina (played by gorgeous Betty Roland) is a power-hungry nymphomaniac who will stop at nothing to become Empress of Rome. She brings herself to the attention of Caligula by battling in the gladiator arena and it is not long before she achieves her goal, upsetting the Emperor's youngest sister Agrippina, who hopes that her son Nero will eventually become ruler of Rome.

Agrippina successfully plots Caligula's downfall, but Messalina rains on her parade by immediately jumping into the sack with his successor, Claudius. But naughty old Messalina can't commit herself to one man, and shags everyone in sight, including a grotesque, but well-endowed, frequenter of brothels, a randy midget, her eunuch(!?!?) and an ex-lover. When she ends up pregnant, and it is obvious that the father is not Claudius (since he has been away fighting in foreign lands), Agrippina finally sees her opportunity to be rid of her nemesis once and for all.

Chock full of graphic sleaze (nudity, simulated sex, Bacchanalian orgies, rape and buggery), this movie is definitely not one for the easily offended. And if none of that bothers you, then the graphic scenes of horses and donkeys getting jiggy will probably do the trick. Surprisingly, in contrast, the violence is pretty low-key, with most of it happening off screen.

Mattei, obviously working with a low budget, resorts to padding his movie with footage from other films, particularly for crowd scenes requiring many extras, but to be fair it all works pretty well. 'Caligula and Messalina' is fun slice of schlock entertainment and is worth a viewing for fans of historical exploitation, but those hoping for the polished look and excesses of its more famous predecessor may be disappointed.

"Caligula and Messalina" (1981), directed by Bruno Mattei and Antonio Passalia, is a film that attempts to delve into the debauchery, political intrigue, and power struggles of ancient Rome, specifically during the reign of Emperor Caligula. The movie is a curious amalgamation of historical drama, exploitation, and softcore pornography, which may either intrigue or repel viewers, depending on their tastes.

The film's narrative revolves around the tumultuous relationship between Caligula (played by David Hemmings) and his sister-turned-wife Messalina (played by Lori Wagner). It showcases their hedonistic lifestyle, ruthless methods to maintain power, and the web of betrayals that ultimately leads to their downfall. The plot, while not entirely historically accurate, does manage to provide a glimpse into the darker side of Roman society, where excess and vice were often celebrated.

One of the film's strongest aspects is its production design. The sets, costumes, and props are meticulously crafted, giving the movie an authentic and immersive feel. The cinematography, too, is commendable, with some beautifully composed shots that capture the grandeur and decadence of Rome.

However, the film's strengths are often overshadowed by its weaknesses. The acting, for instance, is uneven and often veers into the realm of melodrama. David Hemmings's portrayal of Caligula, while adequately menacing, lacks the depth and complexity that the character deserves. Lori Wagner, on the other hand, delivers a more nuanced performance as Messalina but is often let down by the script's tendency to reduce her to a one-dimensional femme fatale.

The film's pacing is another issue. The narrative meanders at times, with scenes of gratuitous nudity and violence that feel more like filler than an integral part of the story. This, coupled with the movie's nearly two-hour runtime, can make for a somewhat tedious viewing experience. 🍷🎭💥