Word: rotunno
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Dates: during 1960-1969
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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...
...long for time and place clues. Some of the actors, their lips shaping large Italian vowels while the sound track spatters round little English sounds, look a bit like hippos catching peanuts. But the DeLuxe Color is tastefully mixed, and the camera is held by a master (Giuseppe Rotunno). What's more, the camera is pointed at something fiercely beautiful: Sicily. Yellow palazzi peep through dark-green foliage like colossal lemons; vast rococo ball rooms drown the mind in a delirium of pink cherubs and gilt-plaster scrolls; and out of the dark-blue sea the big Sicilian mountains...
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