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.
Marcello is in the compartment of an Italian train, facing forward when the mineral water of the woman seated across from him starts to fall toward him. He catches the bottle and makes eye contact and follows her when she leaves the compartment. For a few moments she finds him attractive too. Then suddenly she gets off the train and starts walking through a field. Marcello follows her, loses her, finds himself in a large hotel surrounded by women. A feminist conference is taking place and he tries to escape.Written by
Dale O'Connor <email@example.com>
Kind of shrill and not very subtle, but nonetheless fascinating. Marcello Mastroianni plays "Snaporaz" (Fellini's nickname for the actor), who gets lost in a nightmare world where he is confronted with feminism, absurd satires of machismo and sexual fantasies and confusion. This film doesn't seem to have a very good reputation, even among Fellini fans, but I was mostly enthralled with its strange, unpredictable rhythms, visually astonishing sets, sense of humor and dreamworld logic. The cinematography (by Guiseppe Rotunno, who did a number of other Fellini films, as well as ALL THAT JAZZ, with which this picture shares some similarities) is delightful and the score is a mix of the usual carnivalesque tunes and eerie, more modern sounds... and one hell of a great Italo-disco song. Some parts are annoying or just too long, but overall it's my favorite of Fellini's later career, a surreal amusement about masculine fear and self-loathing.
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