Word: amarcord
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Dates: during 1970-1979
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...Curtis Institute. Returning to Italy two years later, he continued writing operas (The Italian Straw Hat), symphonies and chamber works during his next 45 years, but achieved his greatest success scoring such films as Fellini's La Strada (1954), La Dolce Vita (1960), 8½(1963) and Amarcord(1915), as well as Francis Ford Coppola's two Godfather films. Prolific and inventive, Rota often wrote his scores before the director began shooting. Said he: "Music does not need to be hard to understand to be good. It should relax and entertain the audience -not torture them...
Casanova is Fellini's most ambitious film in years and his first English-language picture. It is also evidently a chilling, worldly departure from Amarcord, last year's lyrical reminiscence that won Fellini his fourth Academy Award. The new movie is peopled by many of the androgynous grotesques that crowded his fantasy Satyricon (1969). Fellini, 56, has ensured his film a stormy reception in Italy by comparing the 18th century rake-protagonist to the typical modern Italian: "He is all shop front, a public figure striking attitudes ... in short, a braggart Fascist...
...Story of Adele H. and Amarcord. Call new management for times...
...what more can I say?--I was a victim of my elitist preconceptions. There I was all winter, reviewing highbrow good-but-not-great movies like Amarcord, Stavisky, Murder on the Orient Express and Godfather II, while all the time a real masterpiece was playing in Danvers. And I would have missed it, too, if it hadn't been for the way the Liberty Tree Mall beckoned out of the mist. As it was, I loved The Towering Inferno and didn't have to dig very deep into my satchel of critical responses to discover...
...other contemporary director he has completely refrained from imitation. His pictures get as much attention as they do because they don't deal with issues chewed up before he introduced them. He forces critics and audiences to encounter that rarity in the art, reorientation. A successful movie like Amarcord or Alice Doesn't Live Here Anymore depends on preconceptions of society, asking the audience to consider its extraordinary perspective. These movies are not shallow, but neither are they active challengers of prescribed notions. They expand rather than disrupt, playing off what we already believe. Antonioni hopes he can make...