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...Godard's Breathless and Fellini's la Dolce Vita open...

Author: /time Magazine | Title: Cinema: Top of the Decade: Cinema | 12/26/1969 | See Source »

...guides his appreciation of art and the execution of his own art. The watercolors he does, beautifully presented in the film, are reminiscent of Paul Klec. whom he admires. Anais Nin, a close friend of Miller's who came to the film's showing at Emerson, compared Miller with Fellini in their love for clowns. Both have a great passion for the circus. Fellini once said that if he hadn't become a filmmaker, he would have been a circusmaster...

Author: By Theodore Sedgwick, | Title: The Filmgoer The Henry Miller Odyssey | 12/8/1969 | See Source »

...production, it has been rewritten so that a scene of forcible sodomy that used to take place out of the audience's sight is now grimly visible (though simulated). In movies, too, homosexuality is the vogue: Staircase, starring Rex Harrison and Richard Burton, Midnight Cowboy and Fellini's forthcoming Satyricon. On the lesbian side there are The Fox, Thérèse and Isabelle, and The Killing of Sister George...

Author: /time Magazine | Title: Behavior: The Homosexual: Newly Visible, Newly Understood | 10/31/1969 | See Source »

...Stop to music, and Yellow Drum, based on Truman Capote's The Grass Harp, reiterates Broadway's faith that a weak play sounds better set to music. Robert Shaw will star in the hymnbook version of Elmer Gantry, Sinclair Lewis' novel about a corrupt evangelist. Fellini's film La Strada is being unspooled, as is All About Eve (stage title: Applause, Applause!), starring Lauren Bacall as Adam's fetching...

Author: /time Magazine | Title: Theater: On Broadway | 9/26/1969 | See Source »

Relevant Antiquity. Fellini and Cinematographer Giuseppe Rotunno (who also shot Toby Dammit) used tons of smoke, incense and cement dust to reproduce a sense of murky antiquity. Yet there is little doubt that, in scenes like the death of a patrician couple who prefer suicide to inevitable political assassination, Fellini is attempting to render this vast fresco as a giant metaphor for the 1960s. "If Petronius' work is a full-blooded description of the atmosphere of those times," Fellini admits, "the film that I adapted from it is a panorama, an allegorical satire of our present-day world...

Author: /time Magazine | Title: Directors: Petronius, 20%; Fellini, 80% | 9/12/1969 | See Source »

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