Federico Fellini

Federico Fellini – Il bidone AKA The Swindle (1955)

Synopsis:
Aging small-time con man Augusto, who swindles peasants, works with two younger men: Roberto, who wants to become the Italian Johnny Ray, and Bruno, nicknamed Picasso, who has a wife and daughter and wants to paint. Augusto avoids the personal entanglements, spending money at clubs seeking the good life. His attitude changes when he runs into his own daughter, whom he rarely sees, and realizes she’s now a young woman and in need of his help to continue her studies. His usual partners are away, so he goes in with others to run a swindle, and they aren’t forgiving when he claims he’s given the money back to their mark. They leave him beaten, robbed, and alone. Read More »

Federico Fellini – I Clowns (1971)

SYNOPSIS
The Clowns is part drama, part fantasy, part pseudo-documentary, and all about the mind of Federico Fellini. Even only having gathered bits along the way, I am aware of Fellini’s penchant for clowns, circuses, grotesqueries, and the absurd. The Clowns is his way of exploring this one corner of his mind and why clowns and the circus had such a great hold on people in the 20th century. This is a phenomenon which saw its greatest heights in the 20th century, after all, the art of clowning is less admired now than it once was. Read More »

Federico Fellini – Il Casanova di Federico Fellini (1976)

Fellini’s Casanova (Il Casanova di Federico Fellini) is a 1976 Italian film by director Federico Fellini, adapted from the autobiography of Giacomo Casanova, the 18th century adventurer and writer.

Shot entirely at the Cinecittà studios in Rome, the film won an Academy Award for Best Costume Design, with the Oscar going to Danilo Donati.

The film portrays Casanova’s life as a freakish journey into sexual abandonment. Any meaningful emotion or sensuality is eclipsed by increasingly strange situations. The narrative presents Casanova’s adventures in a detached, methodical fashion, as the respect he yearns for is constantly undermined by more basic urges. Read More »

Federico Fellini – Giulietta degli spiriti AKA Juliet of the Spirits (1965)

29f7c043f76a2bde437fd0d52a185152

Quote:
Fellini lore has it that the master made “Juliet of the Spirits” as a gift for his wife. Like many husbands, he gave her the gift he really wanted for himself. The movie, starring a sad-eyed Giulietta Masina who fears her husband is cheating, suggests she’d be happier if she were more like her neighbor, a buxom temptress who entertains men in a tree house. Read More »

Gianfranco Angelucci & Liliane Betti – E il Casanova di Fellini? aka And Fellini’s Casanova? (1975)

29f7c043f76a2bde437fd0d52a185152

Quote:
…the “crypto-documentary” by Gianfranco Angelucci amd Liliana Betti E il Casanova di Fellini? (And Fellini’s Casanova?) made for the RAI, in which Federico submits some friends to a screen test for the part of Casanova: Mastroianni, Tognazzi, Gassman, Alain Cuny and an exhilarating Alberto Sordi deeply involved in the part. Read More »

Federico Fellini – I vitelloni (1953)

29f7c043f76a2bde437fd0d52a185152

Quote:
Five men walk arm-in-arm through a sleepy Adriatic town, their lockstep a gentle echo of Italy’s Fascistic past. Such posses are quite common in Italy, where close male friendships, equal parts sensuality and ritual, are second only to the family in importance. I Vitelloni (the best sense of it is “the idlers”), Fellini’s third film, includes some of his most subtle filmmaking and most personal material. Loosely structured and oddly narrated, I Vitelloni is like a sketch for both La Dolce Vita and Amarcord. Paradoxically, I Vitelloni is also an insightful and accurate representation of Italy in the immediate postwar period, full of references to the massive social changes underway. Fifty years after its release, I Vitelloni can finally be seen as a seminal film in Italian cinema, one of the first to detail the effects of technology, celebrity, and mobility on Italian life. Read More »

Federico Fellini – Intervista [+extras] (1987)

29f7c043f76a2bde437fd0d52a185152

Synopsis:
Cinecitta, the huge movie studio outside Rome, is 50 years old and Fellini is interviewed by a Japanese TV crew about the films he has made there over the years as he begins production on his latest film. A young actor portrays Fellini arriving at Cinecitta the first time by trolley to interview a star. Marcello Mastroianni dressed as Mandrake the Magician floats by a window and Fellini followed by TV crew takes him to Anita Ekberg’s villa where the Trevi fountain scene from Dolce vita, La (1960) is shown on a sheet that appears and disappears as if by magic. Read More »