A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
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…
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 childhood aren't the ways that I actually lived them. I had a…
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.
Lo segundo que veo de Fellini luego de la Dolce Vita, y resultó ser una mucho mejor experiencia que la primera.
A fond portrait of one year in an Italian town during the Fascist era (the title means "I remember" in the local dialect). This nostalgic mosaic film has no overarching plot and is built around individual vignettes featuring dozens of quirky characters; it's Fellini at his most playful and comic.
Ah, the melancholy wind of nostalgia.
Fellini is the master of filming voluptuous Italian booty and making fart and masturbation jokes.
Just a few of my favorite things about this film:
Dancing in the fog.
The town historian. ("This will go down as the Year of the Great Snow!")
The urine prank.
Uncle Teo up the tree.
The snow day excitement.
The tall tales.
The score-- among my favorites in any film.
The mom asking for reconciliation and peace. ("He's tired when he gets home.")
The wistful night at sea, waiting for the Rex.
hilarious, insane and amazing. fellini never disappoints
Fellini's wonderful portrait of life in one of fascist Italy's coastal towns ages like a fine wine. It really does get better and better.
Most Fellini films I only really end up loving on the second viewing like 8 1/2 and La Dolce Vita, where I was indifferent at first but ended up finding them incredible. This wasn't really the case for Amarcord I do really enjoy the film but I just don't have the same reaction that others do who call it one of the best films of all time. I guess this time the plotless structure which focuses more on characters than story didn't work for me this time even though I am usually a fan of this method of storytelling. I guess it was mostly the characters and the situations that I just didn't find interesting or endearing enough to support a film like this. But I will try again to watch this as it is a very very good film that looks absolutely beautiful and really recreates its time period.
It takes a special kind of filmmaker to make a movie where a man gets tortured by fascists and a bunch of teenagers jerk off together in a car and it all fits together seamlessly. I've probably said this about all of my favorite Fellini movies at some point, but this is the most Fellini movie he ever made. The quintessential work. The compassion is limitless, because it is his life up on screen. If only we all could manage to create such beauty out of nostalgia.
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