Every film from Roger Ebert's "Great Movies" essays.
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…
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…
In Federico Fellini's Amarcord the great filmmaker takes us through a journey of some of his very memories when growing up in the Italian village of Rimini in the 1930's. The main focus is of a teenage boy named Titta (Bruno Zanin) he's at the stage of his life where he mainly thinks about sex and lives with his mother and his strict father that gets angry every night at the dinner table. We get a glimpse into the life of Titta and his friends and family, it's easily his most sentimental effort that I've seen so far, it's both funny and sweet with the main themes revolving around sex and politics. There is a priest obsessed with the thought…
Wild, often hilarious and crazy in its style, Amarcord is one of director Fellini's best. Autobiographical to a huge extent, the film dives into a small town in Italy where we see family arguments and teenage boys sexual fantasising (and an outrageous, but funny, scene involving a large breasted woman and a teenager). My only complaint was the film never really had a core focus, but that was okay for the kind of film it was. Somewhat episodic, Amarcord shows different things going on in the small town with the narrator who seems to jump in unexpectedly throughout the film, and plays out like a series of memories. This is Fellini at his funniest making Amarcord a wonder to watch.
I forgot about the peacock in the snow. How did I forget about the peacock in the snow?
Fellini’s AMARCORD opens with the sound of wind whistling across a small Italian village. It brings with it the “puffballs” of spring. This wind is something I remember from other Fellini films, as well as a handful of various other markers of Italian cinema. For me, the wind symbolizes a mystical element in these movies. It has earthly qualities as well as an ethereal element. It brings the spring with it in the story, but it brings history, tradition, and nostalgia along for the viewer.
The movie makes no attempt to be an accurate representation of the past. Instead it is a like a filmed memory, complete with all the exaggerations and distortions that come along with memory. The women…
Not funny but not bad, kind of boring in parts but still interesting.
Of all the Fellini films I've seen (five, I think), this is the one that I enjoyed the most. Perhaps because it feels more like a shaggy ensemble than a study of single, male character who is going through an existential crisis. The setting is fascist Italy, but the politics of the period crowd in around the margins as opposed to being what the movie is directly about, with the exception of one sequence where one of the characters gets some unwanted attention from the Fascist authorities.
Anyway, the thing that I thought of the most after watching Amarcord was that it reminded me a of a mash-up of Robert Altman's films and the The Simpsons...the town is populated with…
That tree sure is high.
Amarcord is a patchwork quilt. It is comic strip. It tries to remember, and when it can't, it fills the hole with fantasies of its own. As always, the play between Fellini's persona, his memory, his creations, and the cultural heritage of his films is complex, entangled to the point of integration.
Fellini's allegiances are with the hopelessly juvenile, aimless young. Titta, on the verge of manhood, may never come to an understanding of the world around him, but he will eventually accept it. In this case, there is no Moraldo to strike a path for Rome, just the departure of Gradisca, the town beauty, who has acted as fantasy object for many of the youth. Maybe this is the…
A vivid atmosphere full of special incidents and unique characters, inspired by Fellini's own life in the pre-war Italy of the 30's. Those small connected tales he is narrating through his camera, are particles of a greater memory he extracts from his own past. Those misfits of characters, the comically strange incidents and the even more extreme visuals are what make Amarcord (I Remember) so unusually alien, but also so vulgarly attractive.
Fellini on his youth in home town of Rimini, on the Adriatic coast. Foe Italians who know histories and dialects, this is a hoot of a film. Anglos might struggle to catch all the subtle colours of this masterfully painted painting.
This is my 3rd Fellini film and it may just be my favorite. It's nothing more than short vignettes strung together, linked by various personalities of the small village in which the film brings to life.
And, even though these vignettes are relatively autobiographical, they don't really come across as egotistical and centered on Fellini--no, Amarcord is a film about the village rather than the man.
The village breathes in this film, a vibrant collection of personalities, each given proper breathing room on screen. Fellini has a talent in making each shot feel larger than it really is.
Most movies are very concentrated to be compacted onto the screen. With Fellini you feel like there is a whole world out there and thus, to a certain extent, you become the camera. This sensation is aided by open acknowledgement of the video camera. Characters look at you and narrate for you. It's really quite spectacular.
- 12 Angry Men
- 2001: A Space Odyssey
- 25th Hour
- 3 Women
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!