| Malcolm McDowell | ... | Caligula | |
| Teresa Ann Savoy | ... | Drusilla | |
| Guido Mannari | ... | Macro | |
| John Gielgud | ... | Nerva | |
| Peter O'Toole | ... | Tiberius | |
| Giancarlo Badessi | ... | Claudius | |
| Bruno Brive | ... | Gemellus | |
| Adriana Asti | ... | Ennia | |
| Leopoldo Trieste | ... | Charicles | |
| Paolo Bonacelli | ... | Chaerea | |
| John Steiner | ... | Longinus | |
| Mirella D'Angelo | ... | Livia (as Mirella Dangelo) | |
| Helen Mirren | ... | Caesonia | |
| Rick Parets | ... | Mnester (as Richard Parets) | |
| Paula Mitchell | ... | Subura Singer | |
| Osiride Pevarello | ... | Giant | |
| Donato Placido | ... | Proculus | |
| rest of cast listed alphabetically: | |||
| Anneka Di Lorenzo | ... | Messalina | |
| Lori Wagner | ... | Agrippina | |
| Patrick Allen | ... | Macro (voice) (uncredited) | |
| Gerardo Amato | ... | Roman Soldier (uncredited) | |
| Pino Ammendola | ... | Roman Soldier (uncredited) | |
| Eduardo Bergara Leumann | ... | High Priest of Rome (uncredited) | |
| Signe Berger | ... | Imperial Brothel Worker (uncredited) | |
| Eolo Capritti | ... | The Executioner (uncredited) | |
| Valerie Rae Clark | ... | Priestess of Isis / Imperial Brothel Worker (uncredited) | |
| Maria Cumani Quasimodo | ... | Priestess of Isis (uncredited) | |
| Lucky Fellows | ... | Man in Imperial Brothel (uncredited) | |
| Jane Hargrave | ... | Priestess of Isis / Imperial Brothel Worker (uncredited) | |
| Henrietta Kelogg | ... | Imperial Brothel Worker (uncredited) | |
| John Francis Lane | ... | Guest at Proculus' Wedding (uncredited) | |
| Giuseppe Maffioli | ... | Master of Ceremonies (uncredited) | |
| Juliet Morris | ... | Imperial Brothel Worker (uncredited) | |
| Carolyn Patsis | ... | Imperial Brothel Worker (uncredited) | |
| Susanne Saxon | ... | Imperial Brothel Worker (uncredited) | |
| Melanie Sutherland | ... | Imperial Brothel Worker (uncredited) | |
| Bonnie Dee Wilson | ... | Imperial Brothel Worker (uncredited) | |
Directed by | |||
| Tinto Brass | (principal photography) | ||
| Bob Guccione | (additional footage) | ||
| Giancarlo Lui | (additional footage) | ||
Writing credits | ||
| Gore Vidal | (earlier screenplay) | |
| Bob Guccione | (additional scenes) (1984 version) uncredited & | |
| Giancarlo Lui | (additional scenes) (1984 version) uncredited | |
| Franco Rossellini | (dialogue) (1984 version) uncredited | |
Produced by | |||
| Bob Guccione | .... | producer | |
| Franco Rossellini | .... | producer | |
| Franco Rossellini | .... | line producer (uncredited) | |
| Jack H. Silverman | .... | executive producer (uncredited) | |
Original Music by | |||
| Bruno Nicolai | (as Paul Clemente) | ||
| Renzo Rossellini | (1984) | ||
Cinematography by | |||
| Silvano Ippoliti | (director of photography) | ||
Film Editing by | |||
| Nino Baragli | |||
| Enzo Micarelli | (1984 version) | ||
| Russell Lloyd | (uncredited) | ||
Casting by | |||
| Paolo Heusch | |||
| Roberto Tatti | |||
Art Direction by | |||
| Danilo Donati | |||
Costume Design by | |||
| Danilo Donati | (uncredited) | ||
Makeup Department | |||
| Giuseppe Banchelli | .... | makeup artist (as Guiseppe Banchelli) | |
| Iole Cecchini | .... | hair stylist (as Jole Cecchini) | |
Production Management | |||
| Mario Di Biase | .... | production manager | |
| Sergio Galiano | .... | unit manager | |
| Augusto Marabelli | .... | production supervisor | |
| Alessandro Mattei | .... | production supervisor | |
| Franco Rossellini | .... | post-production supervisor (1984 version) | |
Second Unit Director or Assistant Director | |||
| Piernico Solinas | .... | first assistant director | |
| Luca Ronchi | .... | second assistant director (uncredited) | |
Art Department | |||
| Gianpiero Grassi | .... | property master | |
| Domenico Mancino | .... | blacksmith | |
| Giovanni Natalucci | .... | architect | |
| Luigi Urbani | .... | set dresser | |
| Franco Velchi | .... | architect | |
Sound Department | |||
| Marco Di Biase | .... | boom operator | |
| Gerry Humphreys | .... | dubbing mixer | |
| Archie Ludski | .... | dialogue editor | |
| Claudio Maielli | .... | sound engineer | |
| Giuliano Maielli | .... | boom operator | |
| Stefano Morandi | .... | sound mixer (1984 version) | |
| Robin O'Donoghue | .... | dubbing mixer | |
| Winston Ryder | .... | supervising sound editor | |
| Roger Van Engel | .... | sound editor | |
Special Effects by | |||
| Franco Celli | .... | special effects | |
| Marcello Coccia | .... | special effects | |
Camera and Electrical Department | |||
| Eddie Adams | .... | special photographer | |
| Jerry Bauer | .... | special photographer | |
| Giuseppe Di Biase | .... | camera operator (as Pino Di Biase) | |
| Bob Guccione | .... | cinematographer: additional scenes | |
| Giancarlo Lui | .... | cinematographer: additional scenes | |
| Stan Malinowski | .... | special photographer | |
| Claudio Patriarca | .... | special photographer | |
| Enrico Sasso | .... | camera operator | |
| Mario Tursi | .... | unit photographer | |
Costume and Wardrobe Department | |||
| Gloria Musetta | .... | wardrobe mistress (as Gloria Picone Mussetta) | |
| Gregorio Simili | .... | wardrobe master | |
Editorial Department | |||
| Peter Krook | .... | assistant editor | |
| Giancarlo Lui | .... | post-production director | |
| Enzo Natale | .... | post-production coordinator (1984 version) | |
| Stuart Urban | .... | assistant editor | |
Music Department | |||
| Bruno Nicolai | .... | conductor (as Paul Clemente) | |
| Bruno Nicolai | .... | orchestrator (as Paul Clemente) | |
Other crew | |||
| Walter Alford | .... | unit publicist | |
| Ferruccio Amendola | .... | dubbing director (1984 version) | |
| Carla Cipriani | .... | continuity | |
| Bruno Di Bartolomei | .... | accountant | |
| Leslie Jay | .... | assistant to producers | |
| Tito LeDuc | .... | choreographer (as Tito Le Duc) | |
| Giuseppe Maffioli | .... | consultant: gastronomy | |
| Pino Pennesi | .... | choreographer | |
| Franco Rossellini | .... | director: additional scenes (1984 version) | |
| Maria Ruhle | .... | unit publicist | |
| Louise Vincent | .... | dialogue director | |
| Masolino D'Amico | .... | translator (uncredited) | |
| Paula Mitchell | .... | researcher (uncredited) | |
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| Salò o le 120 giornate di Sodoma | Novecento | La noche del terror ciego | Paroxismus | La coda dello scorpione |
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This film, as with all, has good points and bad points.
In general, I feel that the good ones far outweigh the bad.
The film simply gives the story of the rise and death of Emperor Caligula in a very straight-forward manner. Indeed, it can be seen as shocking, but I think that this is a side-effect of it's desire to be realistic, rather than a deliberate act on the part of the film-makers.
The cinematography and camera work is awful. The huge sets seem at times almost claustrophobic which is an absolute crime considering the magnificence of them. There is also too much emphasis on Caligula himself, to the detriment of revealing some important traits in other characters, making them seem somewhat shallow at times.
The sex scenes are very well placed within the context of the film. I thought that only two scenes stood out as being unnecessarily overt, but for the most part, the explicitness is on the fringe of the focus of each scene, while also playing a major part in the atmosphere.
Never once did I feel that any dialogue was out of place, nor did the acting strike me as being bad.
By far the biggest problem with this film is the fact that the sexual content is widely advertised and therefore anticipated before viewing. This may cause people to focus dominantly on those scenes without really looking at the film as a whole. For me, it enhanced the film. Not in a particularly titillating way, but in the fact that there was no compromise during scenes of sexual acts. Roman orgies are regarded to have been extremely opulent and promiscuous - I found it refreshing to see one as it may have actually been rather than lots of fully-clothed laughing fat men pouring red wine over their faces and eating grapes while draped with female automatons.
In summary, Caligula definitely has it's place in film history due to it's controversy, but if you look beyond that controversy, you should find a rather good film which neatly tells the story of how power can turn someone into a madman.