This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
The Fantastic World of Fellini!
A year in the life of a small Italian coastal town in the nineteen-thirties, as is recalled by a director with a superstar's access to the resources of the Italian film industry and a piper's command over our imaginations.
Saint Louis cries when you touch yourself.
Never have I seen a childhood nostalgia film be so brutally honest when it comes to the real life places and people that the story is inspired from. Amarcord comes from the mind and memories of the great Federico Fellini's carnivalesque and alien brain. This film is supposed to be a very personal and achingly nostalgic portrait of the directors youth in a small 1930's seaside village and Italy, and while I didn't grow up in Italy, nor was I born anywhere near 1930, I can tell you that no matter where you are from or how you got to where you are now, Amarcord will feel like home.
However, Amarcord won't feel…
"I want a woman!" ~ Uncle Teo
The Italian title "Amarcord" has been rendered in English as "I Remember," and quite rightly this a very personal reminisce about the past of writer-director Federico Fellini. It focuses on the 1930s when he was growing up in the Italian village of Rimini and Fascism was on the rise in Italy. By now, having seen seven of his films, I think I have a pretty good idea of what to expect from the "Maestro."
Typical of Fellini, the film is episodic, reflecting memories of childhood fantasies as well as real events and people. There are the schoolboy pranks. the meals and bickering at home, the youthful crush on the town beauty, and the…
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Amarcord is delightful. It's real movie magic. The unapologetically contrived kind. It's perfectly unreal. It's achingly terrific. Amarcord is compelling in all the ways that really, actually matter. It's astonishingly artificial but pure and true. It's one of my favorite all-time films.
It's real-life magic. It's honest-to-God supernatural. It's a very special film. Amarcord changed my life. I feel like I've never truly understood cinema until now. I feel like I can do anything. I feel like magic must feel. I feel like fairy dust.
If you really asked me and if I really felt like answering honestly, I'd probably admit that the ways that I remember my…
Amarcord is my first Fellini film, which so far seems to be a bad thing. I was really overwhelmed by the style and the grandiose nature of everything, plus it was episodic and fractured and I couldn't follow what the point of it all was. By the end, I realized I kept seeing this one guy's face a lot, so I thought "maybe this film is about him!" Turns out I was right. Amarcord is mostly about Titta, a typical teenage boy who idolizes women and dreams of touching one. There's all this stuff about fascism since it's set in 1930's Italy, and there's lots of romance, farce, and small-town politics at play. All around, I'd say I had a…
A truthful collection of lies.
Amarcord is a bit much to wrap your head around in a single viewing. Generally speaking, there's no central protagonist or plot, and instead of this traditional narrative structure, the film offers what is basically a series of vignettes that involve a similar set of characters and that take place in a similar setting. What it's about isn't totally obvious—which is probably for the best, rather than having them shallowly play out on the surface—but what is obvious is that it's less a customary story about a single person and more a chaotic poem about a specific place and time.
Most of the events of Amarcord occur in a small, rural village in Italy, and…
First of all, Nino Rota's divine soundtrack. Someone said it is the music of nostalgia.
Tonino Guerra, a great poet, and his screenplay. He also wrote Tarkovsky's Nostalghia
The voyage at night toward the Rex returning from America, one of the most magical scenes ever made in cinema. Gradisca's confessions, the blind man playing his accordion and asking "how is it"- the starry sky.
The discreet death of the mother, Pupella Maggio, one of the greatest Italian theater actresses of the twentieth century.
The night "passeggiate" in Fellini's invented village at Cinecittà, the closed stories, the movie theater, the main square, the balconies.
The joy, freedom, fear, and magic of youth, and the end of magic with Gradisca's wedding.
One wonders where such deep reactions to a film come from.
A sentimental recollection of the fascist movement in a sleepy Italian village on the coast and the people such a movement affected. AMARCORD is a humorous and humanizing experience filled with beautiful colors and inspiring style.
Because there's no narrative, how much you like this depends on how you like the segments in the film. I found it good overall, but there were definitely some parts that appealed to me way, way more than others.
If I had to pick a favourite film by Fellini--which would be a great chore--it would be between this, 8 1/2 and La Strada. I would probably select this, however, as it's simply a wonderfully joyful glance in the rear view mirror of his life, with a slight aire of nostalgic melancholy that those times can never be repeated, at least not in this lifetime of his. Essential viewing for any self-respecting cinephile and one of the great Italian films of the 70's.
I didn’t grow up in either Italy or the 1930’s, but Fellini makes his childhood your own. There is no driving plot found here, this is presented in a form of vignettes. It’s non-linear style of storytelling may be the reason why he perfectly captures a childhood within the duration of a movie. I have never seen anything that has hit me so hard in the nostalgia. I can envision an elderly Fellini watching this film nearing the end of his life with wet eyes.
Fellini nunca estuvo tan tierno ytan nostálgico. Escenas como las de la estanquera, el tío subido a un árbol gritando "Voglio una donna" o la histérica cena familiar hacen arrancar risas y lágrimas en cada visionado. La felicidad es estos pequeños instantes de la vida.
I've never realized how much Woody Allen took from Fellini until I watched this movie. In "Radio Days", Woody took the plot structure and tone from "Amarcord" and applied it to his own background and childhood growing up in New York. Similarly, Woody's "Stardust Memories" is nearly a remake of Fellini's "8 1/2" retold through his own eyes. While the content of this movie wasn't completely relatable to me since I didn't grow up in Italy or anywhere in Europe, I enjoyed watching Fellini's style and craftsmanship shape the characters and the lives that they lived. Now that I understand the extent of Fellini's influence, I can appreciate his work even more than I did before.
[life, nature, family, community, tradition, sex, religion, political satire, coming-of-age, masculinity, death, rebirth]
A cyclical whirlwind of humor, drama, and florid stimuli that almost numbs the senses with its intensity. As other have pointed out, this is a study of location and community over singular characters.
I enjoy the framing and aesthetics, but find myself too easily fatigued by Fellini's well-trodden exploration of male sexuality and his tendency to depict female characters as more symbols/objects of male desire than complex human beings (the obvious exception being Maria in Nights of Cabiria).
As with many of Fellini's later film, Amarcord is a peculiar mixture of fantasy and realism; however, unlike some of his films of this period, this one is really enjoyable, quite funny, and ultimately moving and sad.
Amarcord means "I remember" and thus from the very beginning we are alerted both to the fact that this film will deal with the past, and more specifically Fellini's ideas about his own past. However, unlike a film like The 400 Blows, which offers a fairly straight forward (if fictionalized) view of the director's past, Amarcord deals more with the past of a community, and therefore, in some ways, the Italian past, and specifically, the past that allowed Fascism to come into being…
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