Word: fellinis
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...soon followed by the appearance of his corpse in the family garden. He is reinterred, but reappears several times before the authorities capture the offending grave robber, a woman whose parents had been arrested and killed by Varlam, and take her to trial. Her testimony, studded with flashbacks and Fellini-like dream sequences, tells the story of Varlam's brutal reign. There are false denunciations, mass arrests and mad ravings by the tyrant, who utters such Newspeak absurdities as "Four out of every three persons is an enemy of the people...
...that there has been only one Marcello to play. In his first eminence, as the cynical journalist in Federico Fellini's La Dolce Vita and the indecisive director in Fellini's 8 1/2, Mastroianni might have been typed as an existentialist heartthrob, a Valentino for the atomic age. But by the early '60s he was also playing a comic-pathetic roue in Divorce, Italian Style; a quiet-spoken syndicalist in The Organizer; a trio of Italian males in Yesterday, Today and Tomorrow. From these disparate parts emerged the full image of Mastroianni: a sensual, reasonable man, agreeably passive, remarkably resilient...
...Mastroianni attained Italian film stardom as the wistful suitor in Visconti's White Nights, and in 1959 Fellini made him an international icon by casting him in La Dolce Vita. Mastroianni compares these two men, who were crucial to his career: "Visconti was the teacher. Severe, but we like him. Fellini is your benchmate, the one you sit next to and make jokes. With Fellini, always we make it a joke. The more serious the film, the more we laugh. We don't say, 'Oh, maestro, how beautiful is this thing you are creating!' We think this...
DIED. Joseph E. Levine, 81, flamboyant movie mogul (The Graduate, The Producers, Carnal Knowledge); in Greenwich, Conn. Levine got his start in the 1950s by distributing films, later financing Federico Fellini's 8 1/2. Levine was involved as producer, distributor or backer in 500 films...
...obsession, it seasoned its content for the broadest tastes: no nudity, no naughty words, no violence. And, until the case of The Miracle in 1952, no constitutional cloak. In that year, ruling on Roberto Rossellini's parable of a peasant woman (Anna Magnani) impregnated by a bearded stranger (Federico Fellini) whom she believes to be St. Joseph, the Supreme Court ruled that films were a form of expression deserving of the First Amendment shield...