Word: satyricon
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...them through. This is a film that earns its R rating not by making sin enticing but by making it repellent. In earlier Fellini works like 8½ and Juliet of the Spirits, there was a fruitful tension between private fantasy and social reality. More recently, as in Fellini Satyricon, the fantasy has tended to overrun the reality. Here Casanova does not move against the rich backdrop the historical period offered but drifts through the bizarre misty regions of Fellini's own imagination. The episodes do not make up a narrative of Casanova's life, but a sort...
...work of Federico Fellini, but his film The Clowns reveals an ability to handle a journalistic topic like the world of the circus in a straightforward manner. The quasi-documentary approach to the material checks Fellini's growing affinity for the self-indulgent excesses that emerged in Roma and Satyricon, yet the gaudiness and affected posturing of the clowns enables him to at least satisfy this inclination without damaging the artistry of the film. An ultimately compassionate insight into the bittersweet experiences of life's buffoons, The Clowns provides a fairly painless introduction to Fellini for the moviegoer unfamiliar with...
...most ambitious film in years and his first English-language picture. It is also evidently a chilling, worldly departure from Amarcord, last year's lyrical reminiscence that won Fellini his fourth Academy Award. The new movie is peopled by many of the androgynous grotesques that crowded his fantasy Satyricon (1969). Fellini, 56, has ensured his film a stormy reception in Italy by comparing the 18th century rake-protagonist to the typical modern Italian: "He is all shop front, a public figure striking attitudes ... in short, a braggart Fascist...
...view of life Fellini takes in Amarcord may be partly excused because it is a self-confessed sentimental journey home, its lesson modified by the cruel world of Roma and the stark heroic drama of Satyricon. Fellini's achievement, in Satyricon, of a coherent interpretation of the ancient classical world different from anyone else's, was much greater than anything he's done since, but his audience seems to have missed it. Now critics are falling head over heels in a rush to congratulate him on having made a sweet, accessible movie--he just received the New York Film Critics...
...been piecemeal and ruminative. The spiritual and artistic crisis at the core of 8½ was as much truth as drama, and the movies that followed it showed Fellini searching for some new form, like a diary (The Clowns, A Director's Notebook) or a primitive pageant (Satyricon). What began to emerge in Roma was a synthesis of direct reminiscence and fantasy, of dream and experience, of actuality and archetype. Roma was unsteady and uncertain, but Amarcord marks a triumphant consolidation. It represents some of the finest work Fellini has ever done-which also means that it stands with...