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...CLOWNS. An autobiographical essay in which Federico Fellini employs his favorite metaphor (the circus) to pursue the phantoms of memory and fantasy...

Author: /time Magazine | Title: Cinema: 1971's Ten Best | 1/3/1972 | See Source »

Director Federico Fellini, "and there were aspects of Popeye and Wimpy in Buster Keaton." Fellini, who began his career in the '30s as a writer of adventure and science-fiction comics, has been an appassionato of the fumetti,*Italy's comic books, ever since he was a ragazzino, and admits that the comics probably gave something to his own moviemaking. Says he: "A sense of the comic and the humorous in my films, wonder, and a feeling for the fantastic-maybe these came from the comics I read as a little...

Author: /time Magazine | Title: Time Essay: THE COMICS ON THE COUCH | 12/13/1971 | See Source »

Jodorowsky borrows heavily from many other directors--notably Bunuel, Fellini, Peckinpah, and Leone. In trying to outdo his forebears with greater bloodshed, deformity and perversion, he fails to realize anything more subtle, anything transcending what he shocks you with. El Topo is intensity for the sake of intensity. Jodorowsky's attempts at anything but horror are sad failures: a scene of Mara discovering the world outside of her monastic confinement looks like a bad Tampax...

Author: By Peter Shapiro, | Title: For A Few Icons More | 12/1/1971 | See Source »

...after delegate droned on about a Soviet proposal for an all-nation summit conference on disarmament. The Yugoslav delegate offered his views in English, the Mongolian spoke in Russian, and in the galleries the rows of plastic earphones hummed simultaneously in French and Spanish, like disembodied voices in some Fellini extravaganza...

Author: /time Magazine | Title: The World: Peking's Wordy Debut | 11/29/1971 | See Source »

Fortunately, critics did not have to review Stigwood's opening-night party for 1,000, which took place at The Tavern on the Green. Like an army of extras for a Fellini movie, the guests turned out to nibble at hams decorated to resemble Indonesian masks, and to dance until 4 a.m. to live rock. Transvestites right out of The Damned, complete with dark red lipstick and 1930s feather boas, shouldered their way slinkily past matrons from Westchester. One unidentified chap wore a beige net jumpsuit with nothing on underneath, and a woman in gray velvet knickers pulled...

Author: /time Magazine | Title: Show Business: The Gold Rush to Golgotha | 10/25/1971 | See Source »

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