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Title: Amarcord (1973)
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| Cast overview, first billed only: | |||
 |
Pupella Maggio | ... | Miranda |
| Armando Brancia | ... | Aurelio | |
| Magali Noël | ... | Gradisca (as Magali' Noel) | |
| Ciccio Ingrassia | ... | Teo | |
|
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Nando Orfei | ... | Patacca |
|
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Luigi Rossi | ... | Lawyer |
| Bruno Zanin | ... | Titta | |
|
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Gianfilippo Carcano | ... | Baravelli |
| Josiane Tanzilli | ... | La Volpina | |
| Maria Antonietta Beluzzi | ... | Tobacconist | |
|
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Giuseppe Ianigro | ... | Grandpa |
|
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Ferruccio Brembilla | ... | Fascist |
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Antonino Faà di Bruno | ... | Count (as Antonino Faa' Di Bruno) |
|
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Mauro Misul | ... | Philosophy Professor |
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Ferdinando Villella | ... | Prof. Fighetta |
One year in a small northern Italian coastal town in the late 1930s is presented. The slightly off-kilter cast of characters are affected by time and location, the social mores dictated largely by Catholicism and the national fervor surrounding Il Duce aka Benito Mussolini and Fascism. The stories loosely center on a mid-teen named Titta and his household including his adolescent brother, his ever supportive mother who is always defending him against his father, his freeloading maternal Uncle Lallo, and his paternal grandfather who slyly has eyes and hands for the household maid. Other townsfolk include: Gradisca, the town beauty, who can probably have any man she wants, but generally has no one as most think she out of their league; Volpina, the prostitute; Giudizio, the historian; a blind accordionist; and an extremely buxom tobacconist. The several vignettes presented include: the town bonfire in celebration of spring; life at Titta's school with his classmates and teachers; ... Written by Huggo
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No other film maker remembers like Federico Fellini. He is able to comprehend and contemplate the importance and beauty of memory and images that come to our minds. He did it with practically every film he made, culminating with La Dolce Vita and 8 1/2. Here, towards the end of his career amidst some films that seemed to pretentious or overanxious to amuse us, he presents a story about people. Not just one person, but a whole group of people living in a small coastal town in Italy 1930s.
It may not be his most dazzling or mesmerizing film, but Amarcord is Fellini's most personal journey. It is told through multiple narrators, all who add a little more the picture, but mostly it is told through the incredible images Fellini creates. His use of color is astonishing, balancing bright colors of passion against the dull lackluster colors of white and black. He also gives us multiple fantasy sequences, building on those of Guido in 8 1/2. Here, they are more abstract but more meaningful. There is a young boy probably supposed to represent him, but it is clear Fellini admired and loved all these quirky people. There is Gradisca the village beauty, Teo the crazy uncle, Aurelio the loud and stern father, and Miranda the loyal and loving mother. Fellini films all of them with such grace and affection, you can't help but be swept up into this world. And, as with most Fellini, you really don't want to leave either.