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Amarcord (1973)įellini’s genius for welding memory, dream and waking consciousness is on show in this classic movie, whose title is a slang phrase for “I remember”. But the setting is July 1914, after the Archduke Franz Ferdinand assassination, with war on the horizon, and the tension is ratcheted up when a group of Serbian refugees are accepted on to the ship.Īmarcord gathered Fellini’s memories of the fascist Italy. A group of musical notables are on a cruise-ship journey to scatter the ashes of a famous opera singer – and Fellini serves up a chocolate box of bizarre and hilarious moments and scenes as these various conductors, soloists and sopranos bicker, intrigue and fall out.
It’s a hothouse flower of a film, created in the studio, not the streets – about as far from neorealism as you can get.
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And The Ship Sails On (1983)Īnother surreal gem from Fellini: a movie whose love of its own artificiality is obvious.
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A complex, unhappy film, said to be inspired by a difficult patch in Masina’s relationship with Fellini. Suzy seems to live a guilt- and risk-free life of sexual pleasure in a house tricked out for gratification, and she appears to be inviting Juliet to join her in this attitude. Masina stars as Juliet, an unhappily married woman with a philandering husband, who conceives a preoccupation with the life of her super-sexy and buxom neighbour Suzy, played by the actor Sandra Milo (who played the director’s mistress in 8 ½).
This was Fellini’s first full-length colour film, and it is a classic of fantasy, theatricality and sensuality. As so often, the movie transforms material that would otherwise be merely autobiographical: a heightened, hallucinatory version of Fellini takes us on a journey into the city, beginning with a spectacular shot of a traffic jam. Roma is also notable for featuring a swansong appearance for the legendary Roman star Anna Magnani.
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Roma (1972)Īn intensely personal, exuberant and extravagant film that is at once a fantastical autobiography and a kind of episodic, biographical portrait of the film’s leading character: Rome itself, which is presented in a series of semi-connected episodes of its past and present. His personal confusion is brought to a crisis when his daughter re-enters his life. Crawford plays Augusto, the leader of the gang, who is coming to tire of this life. Broderick Crawford, Richard Basehart and Masina star in a story about a team of confidence tricksters roaming the countryside tricking farmers out of their savings. This film, like La Strada, is a midway point between the neorealism of Fellini’s early screenwriting career and the humour and picaresque pathos of his later work. Photograph: PDC/OFI/Kobal/Rex/Shutterstock 10. It was remade by Woody Allen as one of the sections in his 2012 film To Rome With Love.Īlberto Sordi and Brunella Bovo in The White Sheik. This was Fellini’s first solo directing credit: a joyful romantic comedy that stars the veteran Roman actor Alberto Sordi as a bridegroom whose wife goes missing. It features – as a dwarf nun – Adelina Poerio, who went on to play the red-clad killer in Don’t Look Now. The Clowns (1970)Ī docu-fiction about Fellini’s fascination and passion for circus clowns. Orchestra Rehearsal (1978)Īn interesting, atypical, underrated Fellini film – perhaps closer to Miloš Forman – a political satire about an orchestra that goes on strike. Fellini’s Casanova (1976)ĭonald Sutherland is Casanova who, in keeping with Fellini’s habitual wayward episodic anarchy and surrealism, is shown not really as a great lover, but an absurd and comic figure at the mercy of fate and his urges. Photograph: Capitolium/Kobal/Rex/Shutterstock 14. Peppino Da Filippo and Giulietta Masina in Fellini’s first feature film, Variety Lights. Masina has a tiny role as the girlfriend of one of the vaudevillians. A beautiful young woman joins a travelling troupe of entertainers.
Variety Lights (1950)įellini’s debut movie, co-directed with Albert Lattuada, and with a real taste of the exuberance and theatricality still to come. Fellini Satyricon (1969)Ī movie with Fellini’s signature surrealism and episodic structure: a fever dream of imperial Rome, taken from Petronius. Some quaint softcore sensuality, perhaps, in this study of a man (Mastroianni) who, Dante-like, wakes up in the middle of his life and finds himself in a hotel in the middle of the woods that is overrun with desirable women. Intervista (1987)Ī fantasy-fictional version of a documentary, as Fellini grants an interview to a Japanese camera crew and takes them round Cinecittà studios and the contents of his own mind and memories. Photograph: Stella/Bibo Tv/Anthea/PEA/Kobal/Rex/Shutterstock 18. Marcello Mastroianni and Giulietta Masina in Ginger and Fred.
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