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Federico Fellini: Films
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Drawing has been a part of Federico Fellini's life since his childhood -- sketching wherever paper was found. Even today, he is constantly making graphic notes in his appointment and telephone books of the characteristics that distinguish people as individuals: a mustache, a tie, a pair of women's legs, a face; and from the very beginning of his career, sketches have been the fashion in which he begins each new film. (Such is the case with "Il. Casanova -- il teatro di Dresda"). Federico Fellini's drawings have been exhibited at art galleries and museums in England, France, Hungary, and Italy. In November 1986, Fellini's drawings, including "Il. Casanova -- il teatro di Dresda," premiered in the United States at the Pierre Matisse Gallery in New York City.
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Though born on 20 January, on the cusp of Capricorn and Aquarius, Fellini was a typical Aquarian, or so he believed. Famously superstitious, he'd always been a ready client of astrologers, psychics and seers, many of whom were brought into his circle and cast in his films. Aquarians are 'inventive, mad and miracle-minded', says one text, and noted for vision, intolerance and delight in scandalising people. The description could have been tailored to Fellini.
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A film which breathes freedom - a nostalgic, fantastic and funny reminiscence of growing up in Fellini's home town of Rimini - made, Fellini said, to finish with youth and tenderness. Against the comic background are sets of indelible characters and an omnipresent Fascist state. Amarcord breathlessly shifts between the melodramatic, the intimate and the burlesque in what is a deeply personal, shared vision. The images - a peacock flying through the snow, a child on his way to school who encounters cows that the early-morning fog has transformed into monsters - are like icons; unforgettable. Italian with English subtitles. Italy, 1974, 127 mins.
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It's the birthday of filmmaker Federico Fellini, born in Rimini, Italy (1920). Fellini was a perfectionist who oversaw all the details of a film's production. He wrote all of his scripts, with help from dialogue writers, and was even involved in the final editing of his films. He said he approached making movies the way Marco Polo sailed for the Orient — not really knowing what may happen along the journey or where the end may lie.
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Having thoroughly shaken off the legacy of Neo-Realism, Fellini began a series of highly personal explorations of his experiences and fantasies. Fellini’s Roma (1972) was a satire on his adoptive home, while in Amarcord (1973) he returned to his adolescence in his native Rimini. Nostalgia for the remembered past and an increasing distaste for aspects of the modern world (from the women's movement to a culture dominated by television) provide the impetus for his later films, including Prova d’Orchestra (1979; The Orchestra Rehearsal), La Città delle Donne (1980; City of Women), E la Nave Va (1983; And the Ship Sails On), Ginger e Fred (1986), and Intervista (1987), but his creativity and his ability to merge personal obsession with reflections on the nature of cinema remained undiminished.
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A unique combination of memory, dreams, fantasy, and desire, Fellini's films are deeply personal visions of society, often portraying people at their most bizarre. The term "Felliniesque" is used to describe any scene in which a hallucinatory image invades an otherwise ordinary situation. Important contemporary filmmakers such as Woody Allen, David Lynch, David Cronenberg, Stanley Kubrick, Martin Scorsese, [12] Tim Burton,[13] Pedro Almodovar,[14] Terry Gilliam[15] and Emir Kusturica[16] have all cited Fellini's influence on their work.
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