Word: fellini
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...afraid of almost everything -the sea, closed doors, fire, elevators, the people she loved. "He's my enemy," she declared on first meeting her future husband, who was certainly also her best friend, playing with her until the end the Fellini-like games of make-believe that -along with alcohol and drugs - helped her endure reality...
Midnight, Saturday, at Hollywood and Vine. The bizarre cast is pure Fellini, the volatile and menacing atmosphere is classic Clint Eastwood. The trouble is, the scene is real...
...from which it comes represent a significant change of direction for her. She talks seriously about "the new romanticism, which is very big in England right now." She has done a video presentation of Bette Davis Eyes that looks like a production number from Scaramouche as directed by Federico Fellini. In fact, her Minstrels past and her new romantic future seem equally synthetic. She has, simply, a good solid way with a ballad. She is the kind of stylist an earlier time would have called a thrush, and despite what she calls her "perpetual frog," she sings...
...lusts after shapely woman with ripe lips and big eyes. Once the feminist convention has burst onto the scene in all its mad-house glory, we know we're not in Kansas anymore. As thorough in his evocation of an Unreal City as both T.S. Eliot and Franz Kafka, Fellini creates an action-painting so surrealistic, so whirling, and so blinding that the ringing of an unseen telephone in several scenes seems an inexplicable and absurd reminder of everyday life...
...criticism or celebration of feminism? Both, and neither. Fellini asserts consistently in interviews that he likes and respects women enormously. True, probably, but he indicates with equal vehemence on film that he feels confused, if not actually intimidated, by the opposite sex. His relation with females seems one of fascination rather than understanding...