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 »
Four directors tell tales of Eros fit for a 1970s Decameron. Working-class lovers, Renzo and Luciana, marry but must hide it from her employer; plus, they need a room of their own. A ... See full summary »
Three directors each adapt a Poe short story to the screen: "Toby Dammit" features a disheveled drugged and drunk English movie star who nods acceptance in the Italian press and his ... See full summary »
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>
In August 1985, one month after filming had wrapped, director Federico Fellini fell ill due to a mini stroke. Fortunately, the ailment did not have any lasting negative effects on his health. 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.
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