Satyricon (1969)
Directed by Federico Fellini
After his young lover, Gitone, leaves him for another man, Encolpio decides to kill himself, but a sudden earthquake destroys his home before he has a chance to do so. Now wandering around Rome in the time of Nero, Encolpio encounters one bizarre and surreal scene after another.
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What critics compared Satyricon to
A cross between “Fellini Satyricon” and “There Will Be Blood” (with glamour and sound stages substituted for petroleum and oil derricks), “Babylon” is a licentious valentine to moviemaking in the ′20s and ′30s.
Miller frontloads the weirdness, with an opening third that plays like a not-quite-watered down twist on “Fellini Satyricon” — all midgets in hanging chairs and fat old men with nipple rings and buxom woman hooked up to a mass breast pump.
Despite the sexual pageants that beckon comparisons to “Fellini Satyricon,” Scorsese’s best-directed scenes aim for grander visions: An impressively realized boat sequence, in which Belfort gets caught in a storm and refuses to face death sober, stands out for its metaphorical representation of financial uncertainties.