Tag Archives: Federico Fellini

XL Popcorn – Amarcord

List Item: Watch all of the “1001 Movies You Must See Before You Die”
Progress: 897/1009Title: Amarcord
Director: Federico Fellini
Year: 1973
Country: Italy

The penultimate Fellini before I finish off the list… in about two years. I decided to keep Juliet of the Spirits as I wanted to save the final Giulietta Masina film to the end, which leaves me with this autobiographical comedy-drama that netted Fellini his fourth and final win for Best Foreign Language Film at the Oscars. Not that he got the trophies as they technically belong to the country of origin… which has always struck me as a bit odd.

Amarcord is one of those films that doesn’t really have a story as such, instead it is a year in the life of an Italian town in the 1930s. We start as spring chases away the winter chill with a stream of puffy seeds and we end in the same way. In the intervening year we see marriage, death, sex, confession and a man climbing a tree demanding that someone fetches him a woman.

The lack of a definitive storyline is the strength and the weakness of Amarcord. Being that this is a Fellini film, there is no argument as to how brilliant this film looks. He sets up some wonderful scenes, like the cinema scene and the snowy roadways, and there are some great laughs to be had – the scene with the tobacconist screams into my mind there.

On the flip side, the lack of a set direction turns this into a two hour stream of vignettes that don’t always work for me. It had me completely for the first hour as we had dream sequences, unreliable narrators and stones being thrown at relatives. Then it began to lose me as the pace and the tone changed. Like, I was never able to emotionally invest too much in Titta as a main character so the final part of his maturation arc didn’t hit me as hard as it should… given that he is the Fellini analogue.

XL Popcorn – La Dolce Vita

List Item: Watch all of the “1001 Movies You Must See Before You Die”
Progress: 645/1007
Title: La Dolce Vita
Director: Federico Fellini
Year: 1960
Country: Italy

Going into La Dolce Vita I think I was expecting a very different film. All the famous pictures from this film are of Marcello (Marcello Mastroianni) and Sylvia (Anita Ekberg) at the Trevi Fountain in Rome. Naturally, I figured that this would be some sort of clever love story set in the glitterati of Italy. Something like a more glamorous version of La Strada, but still as cutting.

I was… pretty much completely wrong. Pretty much the only thing I got right was that Marcello Paparazzo is the film’s central character. So, what is this film about?

Well it’s a 3 hours of following gossip journalist Paparazzo as he negotiates the world of the famous and privileged in Rome. It’s composed of a number of stories (it appears that there is a disagreement amongst film critics about the number) whose quality really seems to taper off towards the end.

The famous scenes between Mastronianni and Ekberg happens incredibly early into the film and, to be honest, it’s pretty much downhill from there. The following section, where Marcello and his girlfriend Emma visit some kids who claim to have seen a vision of the Virgin Mary, is another great one. After this, it’s just so opulent and vapid… which is  what Fellini was aiming for, but is not enough to keep me mentally engaged for more than two hours.

Here’s the thing. There is some stuff in this film that I enjoyed. The direction was excellent as were Mastronianni, Ekberg and Yvonne Furneaux. However, this film is just too long and contains too many different vignettes. I know I’m in a minority: according to They Shoot Pictures La Dolce Vita is one of the best ever made.  I guess I just don’t have ‘taste’.

XL Popcorn – Fellini Satyricon

List Item: Watch all of the “1001 Movies You Must See Before You Die”
Progress: 628/1007
Title: Satyricon
Director: Federico Fellini
Year: 1969
Country: Italy

During our recent trip to Stockholm we went to a photographic exhibition centred around the relationship between people and their horses. One of the photos on display was of the horses involved in the making of the earthquake scene of Satyricon and so I finally got the reason that I needed to give this a go.

Now. Going from the picture in the 1001 book, I was expecting a film that would be a bit weird. Not possibly upsettingly weird like Salo; more like the final disturbing 10 minutes of The Shining. Honestly, with this as a yardstick, Fellini did not disappoint.

It would appear that, when making Satyricon, Fellini was seeking a way to stay true to the spirit of a Roman text about the various adventures of a man that usually ends up with him having sex to get out of a scrape. It’s the ultimate exercise in organised chaos that, because of the fragmented nature of the surviving text, ends up being a bit disjointed. Then again, that’s pretty much the point.

Everything from the out-of-sync dubbing to the filters on the camera serve to make this film feel otherworldly. I use otherworldly because it’s a kinder word than ‘barmy’, which Satyricon is also. Afterall, this is a tale where the protagonist ends up being chased by a man dressed as a Minotaur, kidnaps an oracular hermaphrodite, narrowly escapes an earthquake and has sex with a goddess to cure his impotence. I could go on, but I think you get the point.

Since this veers so much between plot fragments Satyricon really is a film where it helps to have the Wikipedia page open. I don’t think you’re meant to quite be able to follow the thread of the story line as it plays like a game of exquisite corpse put on celluloid. We begin in a Roman bath watching two men arguing about their lovers and end on one of them being offered a pile of money in exchange for an act of cannibalism. I mean, I watched this film intently and I still puzzle as to how we ended up with this conclusion some 2 hours later.

There are still three more Fellini films left for me to watch: Amarcord, La Dolce Vita and Juliet of the Spirits. I think that whatever film I see of his will end up feeling positively grounded after Satyricon. Then again, that’s what makes for a legendary director: someone who puts their mark on different genres and someone whose films are still interesting to talk about, even if you wouldn’t particularly rate them highly.