In 1920, the anarchist Italian immigrants Niccola Sacco (Riccardo Cucciolla) and Bartolomeo Vanzetti (Gian Maria Volonté) are sentenced to death, falsely accused of a robbery and murder. Indeed they are condemned due to their political beliefs, in one of the most shameful and hypocrite judgments of the human history. Continue reading
Much has been sad about this documentary, before it’s been shown. Europe outside Italy has its view clear. How is Berlusconi possible? You meet this agent with Mussolini songs in his cell phone. You meet the paparazzi king who with a considerable amount of self irony calls himself a Robin Hood, who takes from the poor and gives to himself. You also meet the 26-year-old worker, still living with his mother, who wants to be famous, combining Ricky Martin songs with karate tricks.
What we are supposed to think is obvious, but who is to blame? Is it the TV viewers who let this happened or someone else? The hen or the egg once again. That’s the discussion which really ought to start from this film. (Stensson, from IMDB)
IMDB user review:
Mattei’s trashy sexual “pseudomentary”
9 July 2006 | by Scott-from-Modesto (United States)
Libidomania is great for what it is, an ambitious and exploitive attempt to categorize and critique every manner of paraphilia in graphic detail, but it all has no shock value as most of the movie is comprised of dramatizations of different fetishists in action and different extreme angles on sexuality from around the world. You get some nice gory dramatizations such as a penile dismemberment (a great effect that beats the one in Cannibal Holocaust hands down), a sex-change operation, and a gut-slicing necrophiliac plus a woman wearing a prosthetic penis to stand in for a transsexual. Figure in some sleazy historical scenes like a nun getting head from a bishop, too. At least Mattei keeps it sleazy. Continue reading
Elena and Antonio are not made for each other: they are too different, in terms of character, life choices, worldview and the way they relate to others. They are total opposites. However they are overwhelmed by a mutual attraction that they should avoid. Not only because they are not compatible, but also because Elena is engaged to Giorgio, and Antonio is engaged to Silvia, who is Elena’s best friend. Plus Fabio, the young Elena’s best friend, hates Antonio because he is openly homophobic. Initially, between Elena and Antonio, there is physical attraction and this is the first real turbulence in Elena’s life. Everyone will have to deal with the unexpected in a sudden storm of passion that changes all the rules of the game of their relationships. However this will not be the only turbulence in Elena’s life…
In first century Rome, two student friends, Encolpio and Ascilto, argue about ownership of the boy Gitone, divide their belongings and split up. The boy, allowed to choose who he goes with, chooses Ascilto. Only a sudden earthquake saves Encolpio from suicide. We follow Encolpio through a series of adventures, where he is eventually reunited with Ascilto, and which culminates in them helping a man kidnap a hermaphrodite demi-god from a temple. The god dies, and as punishment Encolpio becomes impotent. We then follow them in search of a cure. The film is loosely based on the book Satyricon by Gaius Petronius Arbiter, the “Arbiter of Elegance” in the court of Nero. The book has only survived in fragments, and the film reflects this by being very fragmentary itself, even stopping in mid-sentence.
The New York Times review, Published: October 16, 1972
Roger Greenspun wrote:
“Fellini’s Roma” is perhaps three-quarters Fellini and one-quarter Rome; a very good proportion for a movie. Although an appreciation of the city informs every part of the movie, Rome is not so much the subject as the occasion for a film that is not quite fiction and surely not fact, but rather the celebration of an imaginative collaboration full of love and awe, suspicion, admiration, exasperation and a measure of well-qualified respect.
It is also, for me, the most enjoyable Fellini in a dozen years, the most surprising, the most exuberant, the most beautiful, the most extravagantly theatrical. The audience I saw it with kept interrupting the film with applause. This isn’t something you normally do at the movies, but it seems proper enough for “Fellini’s Roma.”
Kevin: And the Ship Sails On is one of the last of Federico Fellini’s films, made at the twilight of his career. A lot of critics and even Fellini afficionados don’t give this film its full due; they see it as a morbid take on a past era, shot in morose shades of grey without the kind of elaborate camerawork and carnivalesque air that you find in his 60s films. We’re going to talk about a few of the things that we’ve picked up on in this movie that really make it stand out and worth considering.
Making Music without Rota
K: And the Ship Sails on happens to be the first film that Fellini had made without his longtime collaborator,the legendary composer Nino Rota. Which presents an irony since the film seems so preoccupied with the theme of music and examining music in all its power and mystery over people. Continue reading