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 his latest film. A young actor portrays Fellini arriving at Cinecitta the first time by trolley to interview a star. Marcello Mastroianni dressed as Mandrake the Magician floats by a window and Fellini followed by TV crew takes him to Anita Ekberg's villa where the Trevi fountain scene from Dolce vita, La (1960) is shown on a sheet that appears and disappears as if by magic.Written by
Dale O'Connor <firstname.lastname@example.org>
Intervista is one of the best films I've ever seen. The strong sense in all Fellini films that reality is like a big, sad circus is even stronger in this film because fact and fiction, past and present become so confused. The fictitious carnival appears to be reality. And isn't that maybe quite a realistic view?
There is not only the usual sense of nostalgia: because the film looks back at decades of Fellini nostalgia, the nostalgia is double. Who can watch the older Anita and Marcello looking back at La Dolce Vita with dry eyes? The only possible critic could be that the film is, like all Fellini movies, little coherent, but then, isn't that as well like life itself?
Intervista maybe isn't the most famous Fellini films, it certainly is one of the better ones and with that one of the best films in cinematographic history.
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