For when that friend asks you to introduce him to some really great films. This list is not meant to…
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…
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.
Fellini's semi-autobiographical portrait of one year in a small town near Rimini is infused with mischief and nostalgia (the title means 'I remember').
1930's Italy is invoked with great affection as a cavalcade of memorable characters, buxom ladies, and almost carnival grotesques come and go; wink, gurn and break the fourth wall in relentlessly entertaining fashion.
What story there is meanders like a lazy, twisty river - more a series of vignettes - but this is what memory does, and Fellini realises this. This is why some of the characters are a tad forgetful or are interrupted during grandiloquent speeches, occasionally by the unexplained mad motorcyclist who tears through the town at random points.
Highlights include a hilarious montage of…
Having just watched Nights of Cabiria, 8 1/2 and Roma I was stoked for Amacord. I really liked the first three and this one, having won the best foreign film award at the Oscar's sounded like a true winner.
Well I watched it and I found it to be the weakest of the Fellini films I
have watched so far. Not that it was a bad film, far from it, but more so that it was and seemed like more of the same.
It's another semi-autobiographical film by the master Fellini. It's another disjointed set of scenes that come together to make a story in the least traditional way possible. To me it was basically Roma with a touch of…
Insane, we are all insane. We are going in circles, but we are beautiful, life is beautiful. Bella donna, o sole mio, fanculo. I want a woman!
Perhaps the most remarkable thing about Amarcord is the immense power in the subjective. Very little in what we're seeing is presented as fact, but rather as a telling of a story, of a memory. In that sense, the exaggerated characters, the absurdly scenic locale, the episodic and meandering plot--it all comes together to create a genuinely moving, entertaining whole. Really terrific stuff.
Federico Fellini is my favourite director. There's something about his films that appeal massively to me. His 1963 masterpiece, 8 ½ is my favourite film of all-time. Fellini's films all have something very subtle in common, a large majority (of the films I've seen) seem to examine a lifestyle, individual or period in time. For example 8 ½ takes us into the mind of a film director, La Dolce Vita examines the decadent lifestyle of a Paparazzo journalist living in Rome in 1959. Roma is a study of life in Italy, Satyricon examines the lives of people living in ancient Rome.
Amarcord is more than just a "Coming of age" film, it's a study of Italy during the 1930s and…
... 'cause I wish every little village in the world was like this (tobacconist included).
Funny and heartwarming. One of Fellini's top.
It's a Fellini film, so it's pretty damn good. I loved the Lawyer character, whose fourth wall breaks were gleeful and charming. I also adored the vignette structure, and how it revolved more around the town than it did the family, or Titta. The characters were interesting, if semi-undeveloped (but again- town emphasis). It's obviously beautiful, and the ideas are very fun.
The infamous shopkeeper scene did catch me ridiculously off-guard, but I thought it fit perfectly with the tone of the film. Sure, it's bawdy and broad, but it works with the fact that this is about Titta's sexual desires, as well as his coming of age.
Not Fellini's best, but still worth a watch.
Being the late Fellini movie it is, replete with requisite tapestry of broad, vibrant caricatures, this is naturally scattered as all hell. Some moments are transcendent, whereas others just lay there: too tangential, too crude, too personal. Like many (most?), I tend to be mostly lukewarm with post-sixties Fellini (from the three efforts I've seen), but even the worst of them will not be without some degree of singular charm [NOTE: "singular charm" does not include fart jokes or horndoggish ogling of cleavages at this time].
Federico Fellini's beautifully shot Amarcord is never laugh-out-loud funny, but still does an excellent job at mocking the fascist government of the Mussolini era while being a nostalgic look back at youth and its steady stream mischievousness, vulgarity, and prosaic ideas of romance and sex.
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