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 ... 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 »
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 <firstname.lastname@example.org>
It is not the best Fellini. but it is an useful one. for the fantasies, for references to early films, for Mastroianni, for the use of fears, taboos and grotesque, for the mix of kitsch, fantasies and stereotypes, for the disco music and for the toys and tools of an eerie. it is a not comfortable film. too long, too eccentric, too ambiguous, too strange. but it has a bizarre art of seduction. and, maybe, this is the lead trait defining it. not a satire against feminism and machismo, but a remind of the roots of the crisis for contemporary world. and that did not it a great movie but only an useful one. for the precise verdict. for the meeting with images from nightmares with potential to be bricks of near reality. and for many other reasons. too familiar after 38 de ani from the birth of "La citta delle donne".
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