Word: fellinis
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Dates: during 1970-1979
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Amarcord. Fellini's latest and mollowest. Doesn't have much to say about the world, but some of the images are incredibly beautiful and effective. Fellini is fecund as ever so the film is long. It satisfies, though
Bergman's The Passion of Anna, 5:45, 9:50 p.m.; Fellini's 8 1/2, 7:30 p.m., weekends...
...biggest-budget British film ever made, but compared to American blockbusters like The Great Gatsby and Cleopatra, it is an understated film. Europeans don't have the same problems reconciling big money with culture that American artists and moguls use as an excuse for avoiding excellence. Give Fellini and Resnais and Bunuel more money to make a film than they ever dreamed of any they make films that are, indeed, different from their earlier, low-budget works, but films of undoubted high quality. In America, the big money goes only to those directors who sell out to the formulas imposed...
...crumples to the floor and lies there clutching his sides with laughter. Between takes he lurches into an imaginary swordfight with one of his actors. Minutes later he is airily winging it through Gene Kelly's Singin 'in the Rain dance sequence, crying at top volume, "Fellini and Dick Lester are great directors, but are they tops in taps...
...Fellini probably won't need that kind of reminder. He won't stay any longer in the world of Amarcord than he remained in ancient Italy or modern Rome. Amarcord affirms human creative power in a far more unqualified way than most other artists would dare, but its message isn't nostalgic. It's not any one memory that's beautiful and good, but the totality of memories and their succession one after each other. The best things pass away, but so do the worst, and there are always new apparitions to come. The hat of the magician Fellini will...