Amarcord

"Amarcord" was the first Fellini film I saw, about two years ago. It was on TV at 4 o'clock a.m. and I was very sleepy, but I watched it till the end. I wasn't disappointed at all, and I do want to watch it again.

It's not hard to say why this is considered one of Federico Fellini's masterpieces. "Amarcord" (which means "I remember" in the Italian dialect of Emilia-Romagna, the region in which Fellini was born and where the film is set) is one of the most dazzling, personal films you'll ever see. Though Fellini denied that the film is autobiographical (but agreed that has similarities with his own childhood), he made some of the most magic scenes in film history. Nino Rota's unforgettable music score is perfect to highlight the story of a teenage boy's daydreaming (and many other people) in the fascist 1930s Italy. There's a sentence written by the Brazilian author Machado de Assis in one of his novels that is suitable for this magnificent film: "O menino é o pai do homem" ("The Boy is The Man's Father").

A well deserved Best Foreign Film Oscar (Nino Rota should've won too – he wasn't even nominated!). 10 out of 10.

This film was first recommended to me by a high school friend who typically enjoys a different kind of film than I. He counts Reservoir Dogs and Mean Streets among his favorites; I am partial to Notorious and Annie Hall. But for his sake, I watched Amarcord, and in the past years have found myself returning to it time and again. I haven't seen any other movies by Mr. Fellini, so I can judge this film only against itself. By such standards, it is a masterpiece. Never have I seen Italy portrayed as lovingly, nor the spectrum of childhood emotions - happiness, love, frustration - represented as frankly. The images are spellbinding - sunlight and fog and great dark seas. Yesterdays are perfect, it would seem, and love exists in what we can remember. So my friend got it right with this one. Amarcord is a kind of magic only the very best in cinema inspire within us. It's the magic that makes us remember.

Federico Fellini's "Amardord" is a series of sketches about his youth in a seaside town Rimini in the 1930s. In this regard it reminds another favorite film of mine, "Fellini's Roma". After repeat viewing, I can understand why many viewers may not like Fellini, especially his so called "later films" -"Amarcord" may seem too crowded, too loud, too vulgar, too bawdy, and too self-indulgent. It is all true, it is. But so is life - loud but tender, vulgar but touching, self-indulgent but full of humor, love and compassion to the film's eccentric characters. It's been said a lot about memorable scenes and images in "Amarcord": yes, the famous peacock that spreads its plumage on the snow, a magnificent ocean liner that is been greeted by the townspeople, a local tobacconist - a woman of such size and proportions that it could be simply dangerous for the teenage boys to try and make their dreams about her come true. I love "Amarcord" - always have - perhaps, Fellini played all the right notes for me or more likely, Nino Rota wrote his best musical score for the film which could be the best score ever. My favorite image in the film Gradisca's (local beautician) walk accompanied by Rota's music. What is it in the way Italian women walk, the way their hips sway? Monica Belucci in "Malena", Sofia Lauren in "Marriage Italian Style"? And Magali Noël as object of every man's in Rimini desire-Gradisca ("Help Yourself").

Wonderful film - by the power of his magic, by the light of his memory, the great master saved the town where he was young and happy. We can visit it as often as we'd like and it won't go away and disappear - Fellini's Rimini is captured forever.

9.5/10.

While this film certainly has some poignant points about life, it is mostly the work of a great artist who has reached an age where he can view his childhood memories from a detached, nostalgic point of view. Visual splendour and humor abound, and it is a thoroughly delightful watch but I still like Fellini more, when he is more personally invested in the problems of his characters, as in Dolce Vita or 8 1/2.

I must point out right away that I am not a huge fan of the films of Fellini and I much prefer his earlier films before he became the surrealistic director. So, you probably will assume I am an idiot--that may be the case--the jury is still out on that one! However, I am not alone on IMDb, as a few others also have stated that they felt may of his films were overrated as well.

So why did I like this film? Well, instead of the disconnnectedness and choppiness of 8 1/2 and the utterly depressing nature of La Strada (which I still liked) and Nights of Cabiria, this film was more enjoyable. I don't require films to be fun to be worthwhile, but I think all too often, depressing and unappealing films are elevated to greatness by critics simply because of these aspects. In other words, if the film makes you feel suicidal, critics ASSUME it MUST be good! So why did I enjoy this movie? Well, I liked looking into the old Italy of Fellini's childhood and observing all the interesting and quirky characters--I am a sucker for these elements. In fact, that is why I am a particular fan of the films of Marcel Pagnol--it's as if we are peeking into the private lives of ordinary but likable folks.