Tag Archives: Federico Fellini

1974 Films, Best International Film Oscar Winners, Comedy, Drama, International, International Comedy, International Drama, Italian, Top 100 Films, Top 250 Films

Amarcord-1974

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Amarcord-1974

Director Federico Fellini

Starring Bruno Zanin

Top 250 Films #78

Scott’s Review #357

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Reviewed January 9, 2016

Grade: A

Federico Fellini’s Amarcord, winner of the Best Foreign Language Oscar and Golden Globe in 1974, is a semi-autobiographical film based on the director’s own childhood.

Set in the small Italian village of Borgo San Giuliano, the film features a diverse array of quirky, eccentric characters.

The plot centers around young Titta (Bruno Zanin) and his coming-of-age development as he blossoms into a young man; his sexual desires and fantasies are heavily explored in this zany film.

Set in the 1930s, when Fascism, led by the tyrannical Mussolini, was rearing its ugly head, Amarcord isn’t all light-hearted fun and games; despite its surface appearance, the film carries a serious undertone.

Still, the film lacks any story that can be dissected very well, which both pleases and frustrates- the film is to be “experienced”. It can leave you spinning, scratching your head, or disliking the film.

That is not to say that I take issue with or take offense at Amarcord. I adore the film, but it is not an easy watch. Scenes meander about in a dream-like fashion as we follow Titta through his sexual blossoming.

In one memorable scene, Titta has a titillating experience with a buxom older female who lives in the village.

Some of the other characters we meet are giddy with peculiarities: a blind accordion player and a female nymphomaniac, to name but a couple.

Titta and his family are featured prominently as they eat, fight, and live together. One day, when the family treks to visit their Uncle Teo, who is confined to an insane asylum, they take him out for a day in the country, where he climbs a tree and refuses to come down.

A dwarf nun and two orderlies finally arrive and coax him down- he obediently returns to the asylum. It is a bizarre sequence, but one that sums up Amarcord perfectly.

Amarcord contains one wacky scene after another, but many of them are not just there to showcase outlandish behavior, nor are they fluff.

Fellini has a distinct message in the film, and several scenes mock Christianity or Mussolini’s crazy political ideas.

The film is larger than life but also laced with the fear of 1930s Fascism and the fear Italians felt during this time.

The film is also sweet, and Fellini successfully adds a nostalgic feel to it- everyone feels cozy in a large, sprawling town with unique characters, shenanigans, and a celebratory theme, but seriousness lurks beneath.

Amarcord (1974) is a zest for life throughout a tumultuous time, and Fellini successfully creates a hybrid of the two, resulting in one fantastic film.

Oscar Nominations: 1 win-Best Foreign Language Film (won), Best Director-Federico Fellini

Golden Globe Nominations: Best Foreign Film

1972 Films, Comedy, Drama, Independent Comedy, International, International Drama, Italian, Top 250 Films

Fellini’s Roma-1972

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Fellini’s Roma-1972

Director Federico Fellini

Starring Peter Gonzales

Top 250 Films #122

Scott’s Review #649

Reviewed June 5, 2017

Grade: A-

Fellini’s Roma (1973) is a trippy experience set in Rome across two different periods.

As with all Fellini films, the film is meant to be experienced rather than analyzed.

One must nestle into the life that Fellini offers on-screen- in this instance, the fabulous city of Rome, Italy, in both positives and negatives.

The experience was very good for me, as a world of odd characters and ancient Rome oozed from the screen, appealingly and absurdly.

In terms of a plot, there is a not one. Arguably, the only character portrayed is Rome herself. The film takes place in both the 1930s and the 1970s and is said to be an autobiographical tale of director Fellini’s childhood in Rome.

We see a young Fellini experiencing the vast city for the first time, and a teenager living in the city. Interestingly, the film moves back and forth between the two periods with no rhyme or reason.

Throughout the film, we see both the beauty and the ugliness of Rome- the majestic Colosseum and the dirty entrails of the gloomy city.

Scenes of seedy brothels, mainly in the 1930s, and a myriad of strange and scantily clad females prance before the cameras, looking for a lucky score amid the droves of men lusting after them.

Another depicts a fashion show, of sorts, at the Vatican, featuring nuns and priests in bizarre costumes.

The 1930’s setting is my personal favorite. Gritty, cold, and harsh, Rome’s bleakness is depicted. Unsurprisingly, this ties into the historical period: with Mussolini in power and World War II on the horizon, the darkness was apparent.

In a frightening scene, bomb sirens wail while a woman shrieks in panic. The brothel scenes are downright creepy, and the subsequent theatre scenes involving drunken, rowdy, young men leering and cursing at the entertainment are a particular slice-of-life sequence.

In contrast, the 1970s sequences feature more beautiful depictions of the city.

Brighter colors predominate, and scientists or explorers appear to dig into ancient ruins, finding gorgeous art that is later damaged by the wind. We also see hippy types basking in the sunlight.

Again, much of this film is largely open to interpretation.

I adore Fellini’s Roma in terms of an expression of the city of Rome as an art form, but the film is highly unconventional- another plus for me.

Sure, I may have wanted to learn more about the bevy of creepy and potentially interesting characters. Still, I finished the film with an appreciation for Rome unlike any I have ever known.

A startling final scene, in which legendary Italian film star Anna Magnani appears scantily clad, implied to be a prostitute, was filmed shortly before her untimely death at the age of sixty-five.

As a film, Fellini’s Roma (1972) is a wonderful history lesson, but also a lesson in interpretation and film appreciation. Most filmgoers are accustomed to a beginning, middle, and end, as well as some semblance of a plot.

Roma contains none of that; instead, it remains mind-opening and fresh many years after its release, which is a true testament.

Golden Globe Nominations: Best Foreign Film (Foreign Language)

1965 Films, Best International Picture-Golden Globe Winners, Comedy, Drama, Fantasy, International, International Comedy, International Drama, Italian, Top 250 Films

Juliet Of The Spirits-1965

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Juliet Of The Spirits-1965

Director Federico Fellini

Starring Giulietta Masina

Top 250 Films #188

Scott’s Review #725

Reviewed February 15, 2018

Grade: A

A true Fellini film in every sense, and perhaps his most personal, 1965’s Juliet of the Spirits is a colorful, masterful experience with fluid art direction and stunning sets and costumes.

As with most of his films, the story and its intricacies are odd and do not always make perfect sense, but the film is meant to be absorbed and felt, and it has more of a central plot than some of his other works.

Juliet of the Spirits is undoubtedly a must-see for fans of Fellini or any novice who wants an introduction to the great director.

In a compelling tidbit of background information, lead actress Giulietta Masina, wife and muse of director Fellini and sometimes deemed the female Charlie Chaplin, plays a true-to-life character.

In real life, the woman suffered from a philandering husband- Fellini himself!

For this reason alone, the film is fascinating as a true-to-life story, leading the audience to empathize with Giulietta and her life of doldrums and turmoil.

Giulietta Boldrini (Masina) is an affluent woman living in Italy with her successful and dashing husband, Giorgio (Mario Pisu). Despite wealth, two housekeepers, and free time to do whatever she pleases, she is dissatisfied with her life and surroundings.

This occurs mainly after she hears her husband mutter another woman’s name in his sleep. Concerned and intrigued, Giulietta hires investigators to unravel the mystery, which spawns an adventure for her.

Instead of a cookie-cutter film with a basic plot, in proper Fellini form, Giulietta embarks on a journey into a dreamlike, odd experience, tapping into her repressed desires and innermost thoughts while being exposed to her larger-than-life, sexy neighbor, Suzy (Sandra Milo).

The oversexed Suzy enlightens Giulietta to the joys of her mansion, treehouse, dazzling, weird friends, and bubbling sensuality.

Juliet of the Spirits is a joy to watch and quite a bit more linear than other complex masterpieces, such as the 1960s La Dolce Vita or 1969’s Fellini Satyricon.

The plot is spelled out presently- Giulietta is depressed and anxious for something new and exciting. Her journey into this new life, marked by her wrestling with demons and resistance, makes this film so much fun.

Styles and colors are brilliant and lavishly loud. Take the gaudy and glamorous nest that Suzy calls home. Her palace is both tawdry and sophisticated, with a built-in underground swimming pool where she bathes after lovemaking and velvety red walls and furniture.

Fellini uses gorgeous reds, greens, and blues throughout the film to create dazzle and spectacles with larger-than-life characters.

To further focus on Suzy for a minute, the blonde bombshell frequently visits her very own treehouse, complete with a swing. She flirts with handsome young men who gaze up at the scantily dressed beauty as she tosses her high-heeled shoe down to them in a suggestive manner.

When they come up to the top of the treehouse by way of a mechanical basket, presumably for sex, this is too much for the overwhelmed Giulietta, who returns to the safety of her own home.

But she is excited and scared.

The film belongs to Masina, and we cannot help but wonder if Fellini created Juliet of the Spirits for the actress because of his reported years of cheating.

Regardless, Masina plays a confident woman on the outside- insecure on the inside- flawlessly.

With her expressive eyes and a nice smile, Masina enthusiastically embraces the role, making her a perfect fit for a Fellini film.

Juliet of the Spirits mixes several film genres, including fantasy, drama, and light comedy, and contains interesting supporting characters.

Suzy’s seemingly clairvoyant mother is a great side character. When she meets Giulietta, she immediately sees that the woman is troubled. Giulietta’s father, whom we meet when she is a little girl appearing in a religious play, is boisterous and spirited.

I was fortunate enough to stay at the Grand Hotel in Rome, a lavish yet strange establishment where Fellini spent many nights as a guest. While watching Juliet of the Spirits, I fantasized that he drew inspiration for this film from the hotel.

The grand red textures that appear in both the hotel and the Fellini film could have created a truly inspiring setting.

Stalwart, creative, and masterful director Fellini once again crafts a stylish film that warrants thoughtful consideration after a solid viewing.

Too much analysis, however, will ruin the enchanting experience. Juliet of the Spirits (1965) is best enjoyed as a treat that will mesmerize you in glamorous fashion.

Oscar Nominations: Best Art Direction, Color, Best Costume Design, Color

Golden Globe Nominations: 1 win-Best Foreign Film-Foreign Language (won)

1969 Films, Drama, International, International Drama, Italian, Top 250 Films

Fellini Satyricon-1969

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Fellini Satyricon-1969

Director Federico Fellini

Starring Martin Potter, Hiram Keller

Top 250 Films #229

Scott’s Review #530

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Reviewed November 30, 2016

Grade: A

Fellini Satyricon (1969) is a fascinating experience and is a great film. Still, only for the very broad-minded and patient viewer- it is more of an “experience” than watching a conventional start-to-finish type finish.

It is nothing of that nature.

I both loved the trip and was fascinated by the creativity and depth of it- dreamlike is a word that immediately springs to mind.

The story does not make perfect sense, nor does it need to. The fact that it is set some two thousand years ago is, in itself, fantastic, as the sets are filled with decadent imagination.

The film is certainly not for everyone and is a fairy tale for adults.

It tells of a journey through Ancient Rome and is divided into nine chapters. A scholar (Encolpius) and his friend (Ascyltus) traverse the land in the hopes of winning the heart of a young boy (Giton).

They are both in love with him, and the topics of bisexuality, public sex, slavery, and brothels are explored.

I love Fellini films because they are wild, dreamlike, and fantasy-like, with odd characters.

Is Fellini’s Satyricon strange? Absolutely. But that is to its credit- this film is highly imaginative and wild, and will leave one pondering its beauty afterward.

Oscar Nominations: Best Director-Federico Fellini

Golden Globe Nominations: Best Foreign Film (Foreign Language)

1963 Films, Best International Film Oscar Winners, Comedy, Drama, International, International Drama, Italian

8 1/2-1963

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8 1/2-1963

Director Federico Fellini

Starring Marcelo Mastroianni, Claudia Cardinale

Scott’s Review #973

Reviewed December 27, 2019

Grade: A-

For fans of acclaimed and experimental Italian film director Federico Fellini, a straightforward plot is rarely the recipe of the day with his projects.

With 8 1/2 (1963), he creates a personal and autobiographical story about a movie director who is pressured into another project but lacks the creative ideas and inspiration to fulfill the task.

We can all relate to this in one way or another.

The film is confusing, beautiful, elegant, and dreamlike, precisely what one would expect of a Fellini production. His film also hints at a more profound message and complexities.

The recommendation is to experience the film rather than analyze or over-analyze it. Let it marinate over time and relish in its offerings.

Guido Anselmi (Marcello Mastroianni) is a famous Italian film director who suffers from director’s block after he is tasked with directing an epic science fiction film and attempts to do so.

Experiencing marital difficulties, he decides to spend time at a luxurious spa where he has strange reoccurring visions of a beautiful woman (Claudia Cardinale), is visited by his mistress Carla (Sandra Milo), and is criticized by a temperamental film critic.

When Guido’s film crew arrives at his hotel to start production, he becomes overwhelmed by the mounting pressures and escapes into a world of memories. He visits his grandmother, dances with a prostitute, and relives his time at a strict Catholic school.

The film critic dismisses Guido’s attempts to incorporate these memories into his new film. The rest of the film is a mishmash of odd occurrences as Guido attempts to make his film.

Fans of Fellini’s other works will undoubtedly fall in love with 8 1/2, and since the film is about film, this scores points in my book.

His other famous works, Roma (1972) and Amarcord (1973) are similarly semi-autobiographical but differ in that they are more straightforward stories- as much as can be said about a Fellini film.

Usually lacking much plot, 8 1/2 resembles Juliet and the Spirits (1965) more than the others for comparison’s sake. Fantasy and reality are interspersed, making the film challenging to follow.

It appears to be about a man on the brink of a nervous breakdown and is a complex and personal study. As Guido spirals out of control and teetering towards insanity, he also muses about his situation. These highs and lows, told comically, make 8 1/2 even more challenging to figure out and react to.

My previous suggestion to experience 8 1/2 becomes credible as the film rolls along. Viewers may be unsure of what is happening, if not downright perplexed, but energy pulls one into its clutches with masterful sequences and potent embraces of life, love, and culture.

This must be attributed to the look and style of the film.

8 1/2 won the Academy Awards for Best Foreign Language Film and Best Costume Design (black-and-white) and is considered a highly respected and influential work of art by most film critics.

Appreciated mostly for its beautiful cinematography, it also delves into the meaning of life with a live-and-let-live approach.

Lovers of avant-garde works of interpretation and expressionism will be giddy while experiencing ruminating thoughts following 8 1/2 (1963).

Having only seen the film once and embraced it wholly as a work of art but frustrated by the lack of tangible meaning, I advise seeing it a second, a third, or even a fourth time for a deeper appreciation and understanding.

I plan to heed my suggestion.

Oscar Nominations: 2 wins-Best Director-Federico Fellini, Best Story and Screenplay Written Directly for the Screen, Best Foreign Language Film (won), Best Art Direction, Black-and-White, Best Costume Design, Black-and-White (won)