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 »
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 »
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.
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 journey into the past, and a viciously satirical attack on television in general and Italian TV in particular, portraying it as a mindless freakshow aimed at morons Written by
Michael Brooke <firstname.lastname@example.org>
Upon the film's release in the USA, Ginger Rogers sued the production and the distributors for 'misappropriation and infringement of her public personality'. The case was dismissed, the judgment stating that the film referred to her and Astaire only obliquely. See more »
Fellini in top form here. I don't know why this gets so much indifference. Along with "And The Ship Sails On," this might be one of Fellini's best films, up there with Juliet and 8 1/2. You should also check out Intervista. A story of two aging performers well past their peak of popularity team up after not seeing each other in decades to dance on a variety show. "Ginger," the lady, doesn't seem to even understand the nature of the show she's appearing and is baffled and disturbed by the circus freaks and transvestites. "Fred," the man, is bitter with age and a bit embarrassed that he doesn't have more to show for his life. He even threatens to derail their appearance to make a statement about what sheep the modern audience is. The stinging commentary on television and rampant commercialization is always in the background, and fortunately it's more of a cultural critique than a political one (I don't think Fellini had a political bone in his body). For me, the emotional core of the film is probably Fred's discussion with a bemused, condescending writer about the origins of tap dancing. I won't spoil it.
1 of 1 people found this review helpful.
Was this review helpful to you?