One of Luis Bunuel's most free-form and purely Surrealist films, consisting of a series of only vaguely related episodes - most famously, the dinner party scene where people sit on ... See full summary »
A woman's lover leaves her, and she tries to contact him to find out why he's left. She confronts his wife and son, who are as clueless as she. Meanwhile her girlfriend is afraid the police... See full summary »
Roberto, a shy law student in Rome, meets Bruno, a forty-year-old exuberant, capricious man, who takes him for a drive through the Roman and Tuscany countries in the summer of 1962. They ... See full summary »
This is about a self-styled New York hipster who is paid a surprise and quite unwelcome visit by his pretty sixteen-year-old Hungarian cousin. From initial hostility and indifference a ... See full summary »
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. Federico Fellini's film combines the free form and make-believe splendor with the comic, bittersweet feeling for character and narrative we remember from some of his best films of the 1950s. The town in the film is based on Rimini, where Mr. Fellini grew up. Yet there is now something magical, larger-than-life about the town, its citizens and many of the things that happen to them. Written by
Although a clip from Beau Geste (1939) is seen, the posters featuring Gary Cooper promote two fictional films 'La valle dell'amore' ('The Valley of Love') and 'Il sole del deserto' ('The Desert Sun'). See more »
When the carriage is hidden behind the farmhouse, its position in relation to the shadow changes between shots. As it is driven behind the building, it is in shadow; when next shown it is out of the shadow. See more »
When the puffballs come, cold winter's almost gone.
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When I attended the premiere, I felt this was the best film ever made.
When "Amarcord" had it's American premier at the Plaza Theatre on East 58th Street in New York, I was working as the manager of The Paris Theatre, also on 58th Street, just 2 blocks west, behind Bergdorf's and facing the front of the Plaza Hotel.
Both theatres were part of the Cinema-5 circuit of first-run theatres in Manhattan. I often took advantage of the pass privileges that theatres extend to one another and always attended every other theatre in the city to sample their fare.
As I often worked as 'relief' manager of The Plaza, I was well known to the the crew there and had easy access to that theatre at all times. When I first sat through "Amarcord" during it's opening, I realized that I had just seen "THE Finest Film Ever Made". When I told this to others, I was often scoffed at. I was told that the 'Finest Film' hadn't been made yet. That was until the scoffers saw the film for themselves. Every friend I brought to The Plaza to see "Amarcord" was as enchanted with the film as I was.
During it's opening run at the Plaza Theatre in 1974, I must have seen the film at least 50 times. I next saw "Amarcord" at an art house in another city in 1980. Yes, it was still the best film. In the 6 years since it's USA premier I can't say I saw any film better than "Amarcord."
Then, when it was at long last released on videotape in the 1990's, I purchased the tape. When I watched the tape I wept. Yes, it was STILL the finest film ever made. I DO think the world of "Nights of Cabiria", "La Strada", "La Dolce Vita" and "8 1/2". But "Amarcord" is more than just Fellini's greatest work. It is greater than ANY other film, made by any other person or group of persons. I know now, 27 years after I first saw this film, that I will certainly say, 27 years in the future: This is THE film that no film-maker can top.
..In my humble opinion, of course....
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