Amarcord

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.

Fellini gives us a series of memories, fantasies, and dreams in the vignettes which make up his semi-autobiographical film 'Amarcord' ('I Remember'). The message which comes through is loving, and about the gaiety of life, embracing its madcap characters and moments - moments which will someday live in our memories, hazy though they grow, as little diamonds of light. I loved the scenes satirizing the Fascists and the Catholic Church, and they're all the more powerful in this context, where they are reduced in significance, and just another zany thing Italians dealt with (or deal with) in life. The film doesn't strike any major philosophical chords, briefly coming close as men peer up into the heavens, but the lines uttered as a poem by a construction worker are powerful ("My grandfather made bricks / My father made bricks / I make bricks, too / but where's my house?"). I may be in the minority here, but the film didn't strike me as particularly beautiful, though it was a pleasure to see Magali Noël (Rififi, La Dolce Vita, and many others). It held my interest, but lacked a big punch, even in its sentimentality, though I was always pulling for it, and loved the many references to Hollywood actors from the 1930's. Unfortunately, there is not enough depth here to consider it a great film, and Fellini too often indulged in caricatures and juvenile humor. Net, a mixed bag.

I never thought of this movie as carnivalesque, but you could argue about that. I like to think it is surrealistic in the way that your memory can distort history and all that you once dreamed of or was scared of. Those memories evolve into caricatures of persons, their behaviour and caricatures of situations. We not only see Federico's memories, but also the supposed memories of people once surrounding him.

Also this is said to be Fellini's most accessible film. Well, I was 15 when I saw it first, and it is still one of my favorites. About 10 Fellini-films later I read that this won the academy-award for best foreign picture, which I never expected, but think is quite rightly. The many surrealistic scenes stick to the mind for decades. Hilarious, tragic, oppressive (upcoming fascism: so most of it must take place just before ww2), nostalgic, poetic: there's something for everyone (and every age) to appeal to, while Fellini makes no compromises. If this was higher-paced, you wouldn't have time to appreciate the details, the photography and the music (Nino Rota). Don't look for a plot here.

The cinematography (Giuseppe Rotunno) has comparable feel with some films by Mike Nichols (Catch-22 (1970), Carnal Knowledge (1971), Graduate (1967)). Rotunno worked with Mike Nichols on three films: Carnal Knowledge, Regarding Henry and Wolf. And with Fellini on 9 films (e.g. City of women (1980)). I don't know if this is relevant, but Fellini is said to have had a conversation with Mike Nichols during the production of Catch-22. Otherwise I can't think of many films that are comparable with this fabulous collage of events happening apparently in spring, summer, autumn, winter and ends in spring to conclude some cycle (generation ?) accompanied by beautiful distinctive music. Why o why can't we vote 11 :(

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.

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.