Amelia and Pippo are reunited after several decades to perform their old music-hall act (imitating Fred Astaire and Ginger Rogers) on a TV variety show. It's both a touchingly nostalgic ... See full summary »
In 1914, a luxury ship leaves Italy in order to scatter the ashes of a famous opera singer. A lovable bumbling journalist chronicles the voyage and meets the singer's many eccentric friends and admirers.
Cinecitta, the huge movie studio outside Rome, is 50 years old and Fellini is interviewed by a Japanese TV crew about the films he has made there over the years as he begins production on ... See full summary »
A virtually plotless, gaudy, impressionistic portrait of Rome through the eyes of one of its most famous citizens. blending autobiography (a reconstruction of Fellini's own arrival in Rome during the Mussolini years; a trip to a brothel and a music-hall) with scenes from present-day Roman life (a massive traffic jam on the autostrada; a raucous journey through Rome after dark; following an archaeological team through the site of the Rome subways; an unforgettable ecclesiastical fashion show) Written by
Michael Brooke <firstname.lastname@example.org>
Peter Gonzales Falcon's hairstyles are all in the longish 1972 mode, even though the portions of the film in which he appears are supposed to be taking place thirty or more years earlier, at which time men's hair was cut much, much shorter, and would never be worn as it appears in this film. See more »
Everything is revolving around Rome in this movie, its beauty, its decadence, its history, its inhabitants, seen with the eyes of our magnificent Maestro: Fellini. The scene of the war-period theatre is one of the funniest of the whole history of cinema and no subtitle can render it in a proper way, you should live in Rome for years to fully appreciate the dialogues. It's worth seeing for the countless characteristic "faces" that Fellini was used to employ for his movies, giving that special taste to his works we are still call "fellinian" nowadays.
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