Word: fellini
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Dates: during 1970-1979
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DIED. Nino Rota, 67, Italian composer best known for some 100 movie scores, including the Oscar-winning music for Godfather II and nearly all of Director Federico Fellini's films; of a blood clot; in Rome. A native of Milan, Rota composed his first opera at 14 and in 1931 went to the U.S. to study at Philadelphia's 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...
...comics themselves used cinematic techniques like closeups, fadeouts and establishing shots. Says Marvel Editor Roy Thomas: "Unlike most comic artists, Marvel's illustrators always drew their pictures first-before the writers put in dialogue. It was a very cinematic approach." Italian Film Director Federico Fellini is a fan. He once paid a visit to Marvel's New York office and pronounced that "Lee added his own kind of ironic parody to comics...
...those rare times when life and art not only converged but paused to entwine and intermingle. For the lovely and the loaded in Italy, La Dolce Vita of Federico Fellini's 1959 cinema masterpiece really did exist. It was served up in 1,001 nights of frenetic cafe hopping along Rome's Via Veneto, swathed in the smart fashions of Florence and Rome and recorded by swarms of flash-happy paparazzi...
When I was a soldier, I was taught: "If it moves, salute it. If it doesn't move, whitewash it." Today's militant, if unsoldierly extremists have a simpler philosophy: whether it moves or not, kidnap it. We have seen the kidnaping of a Goya, a Fellini film, the corpse of a great comedian, an Italian political leader. We are shocked, but perhaps some of the shock comes from awareness that we are not shocked enough. We have already imagined most conceivable outrages against law and decency, or had them imagined for us in drugstore bestsellers or films...
Padre, Padrone. Paolo and Vittorio Taviani's entrancing film about the loam-to-letters life of a bestselling Sardinian author from humble peasant origins provides the most convincing evidence since Bertolucci's "Last Tango in Paris" of the resilient vitality in Italian cinema, the recent excesses of Fellini, Antonioni, et al notwithstanding. The Taviani brothers' first film to receive international attention, it features a host of mind-gripping sequences destined to set apart "Padre, Padrone" as one of the most important films to cross the Atlantic in the late 1970s. To name only two: the unforgettable series of shots capturing...