Apparently Fellini grew up in a family of Italian stereotypes. His film seems almost to flow from the camera, as anecdotes will flow from one who has told them often and knows they work. The local youth go through gymnastics exercises no doubt connected to national security. I find Fellini’s magic spellbinding even when he’s only marking time, as he was to some extent in “Roma.” But now, with “Amarcord,” Fellini returns to the very top of his form. They’re of all sizes, sexes, and ages, but they’re bound together by their transparent simplicity and a strain of cheerful vulgarity. The cinematography is colorful, but there is no plot here to sustain interest; it's a series of disconnected episodes that soon become tiresome. And in "Amarcord, make no mistake, Fellini is ALL over the place.
Classic movie-making of the highest order! It’s no more complicated than they are, it understands them inside-out, and the audiences I’ve seen it with (three times) have been moved to horselaughs, stilled by moments of beauty, and then brought back almost to tears. Fellini explores the lives of the residents of a coastal Italian town. So why don't I feel it? In this case, he focuses on a small town in 1930s Italy, as seen from the eyes of a teenage boy. Fellini takes a lot of work. Get the freshest reviews, news, and more delivered right to your inbox! I love "Amarcord" always have perhaps, Fellini played all the right notes for me or more likely, Nino Rota wrote his best musical score for the film which could be the best score ever. And we can marvel, too, at how universal “Amarcord” is. Bloated, overblown and essentially empty, Fellini's last hit movie skims over the surface of the lives it depicts, substituting manufactured sentiment for genuine feeling or understanding. I wasn't disappointed at all, and I do want to watch it again. The townspeople are almost children in their behavior, taking delight in the simple joys of eating and making love and parading around the square and gossiping about each other and about the hypnotic Gradisca. When I stopped to read a few of them, they contained obvious misinterpretations of the movie (which was funny) and none of them came up with a significant argument as to why the movie was good but just not for my taste.
Erratic personalities who consistently insist on indulging their illusions.
Every summer the family liberates Uncle Teo from the local asylum for a picnic in the country, and this year while they are distracted he climbs a tree and refuses to come down, moaning “I want a woman!” like a lovesick bull. The humor is on the level of "Porky's" and "American Pie," with lots of emphasis on flatulence, bodily fluids, and the female anatomy. Other narrators include the singing voices of the children, heralding the arrival of the first dandelion balls of spring, and a confiding voice on the soundtrack that is Fellini himself. As I clicked through a few pages of reviews, most of them were raving madly about Fellini, not many gave below 10, and then again, not much lower. The pedantic commentator's articulate and austere tone is comically undercut by some off-screen antics. Although on one level this is indeed a warm reminiscence of youth, it would be a mistake to think that's all it is. "Amarcord"(The title translates as "I Remember") is structured in a series of loosely connected tales. Fellini's brilliant interweaving of fantasy and reality perfectly captures the childhood memory, the way we see our past through a romanticized lens. Not just one person, but a whole group of people living in a small coastal town in Italy 1930s. Fellini stylishly evokes his unique vision of provincial Rimini(Where he was born)through an adolescent viewpoint. And all the while you'll be building your own memories of this landmark movie.
I'm not sure how Amarcord played in the '70s, but now it feels like an affectionate parody of Italian movie conventions. ", the belly-laugh inducing introduction to each of the instructors at school, the beautiful people, the grotesques. I cannot imagine people like this inspiring "nostalgia" in anyone. The movie is set in the 1930s and portrays the everyday adventures of the citizens of Rimini, an Italian city by the Adriatic sea.
Like life itself, the movie can be perplexing and enigmatic, sometimes magical, sometimes, in the face of the political climate and history, frightening as "simple people just trying to live get caught up in the times they were themselves creating". It’s also absolutely breathtaking filmmaking. Now streaming on: Powered by JustWatch. The film uses an on-screen narrator who comments directly into the camera about Rimini's storied past. Moreover, the protagonists are hardly more complex than popular notions about "typical" Italians and, given that the narrative bounces back and forth between at least a dozen people, there is no way for the viewer to identify with any of them.
So my friend got it right with this one.
His personal recollections on growing up in 1930's pre-war Italy under control of Fascism and the Church, are recorded with lively, colorful images. Detailed vignettes of public school shenanigans; curious instruction; and the hyper-critical approach of the church. But Fellini .. well, moviemaking for him seems almost effortless, like breathing, and he can orchestrate the most complicated scenes with purity and ease. (Ill-timed, loud raspberries; well-tossed snowballs; general heckling, etc.) He danced so instinctively to his inner rhythms that he didn’t even realize he was a stylistic original; did he ever devote a moment’s organized thought to the style that became known as “Felliniesque,” or was he simply following the melody that always played when he was working? Amarcord, Teggiano: See 42 unbiased reviews of Amarcord, rated 4 of 5 on Tripadvisor and ranked #8 of 13 restaurants in Teggiano. Tweet.
There is a poetic and melancholy side, too, as when fog blankets the town and the characters seek softly for their bearings, and when the great liner Rex passes offshore and the townspeople all row out in their boats to watch it pass (it is as artificial as the “waves” the boats ride on, suggesting how much the national image depends on illusion).
Fellini requires the entire orchestra.er again be the same; this was the last of his films made for no better reason than Fellini wanted to make it. This is not high art. Amarcord will make you howl with laughter and then choke back a tear. At the center is an overgrown young adolescent, the son of a large, loud family, who is dizzied by the life churning all around him -- the girls he idealizes, the tarts he lusts for, the rituals of the village year, the practical jokes he likes to play, the meals that always end in drama, the church’s thrilling opportunities for sin and redemption, and the vaudeville of Italy itself -- the transient glories of grand hotels and great ocean liners, the play-acting of Mussolini’s fascist costume party. Nino Rota's scores have graced dozens of classic films, but "Amarcord" may be his best. It is nothing more than a fragmented hodgepodge of tacky adolescent fantasies and uninteresting (yet irritating) adults. Amarcord is an episodic coming of age film from Federico Fellini. It's much like a catalogue of bitter-sweet memories. But it merely scratches the surface of several themes -- love, coming of age, fascism --without exploring them in depth. There is a night, for example, when all the people of the town get into their boats and sail out to wait for the great new Italian liner to pass by. The result is touching, sad and wonderfully bittersweet. "Amarcord" is filled with memorable and eccentric characters including a blind accordianist; a foul-mouthed midget nun; a buxom tobacco store owner with a penchant for young men; a lascivious and gaseous grandfather; Volpina the town nymph; Theo the sexually-repressed, mad uncle; and an ever present dim-witted street vendor. Federico Fellini’s “Amarcord” takes us back to the small Italian town of his birth and young manhood, and gives us a joyful, bawdy, virtuoso portrait of the people he remembers there. We not only see Federico's memories, but also the supposed memories of people once surrounding him. The saddest scene, at the beach, is Gradisca’s wedding to a slick fascist leader; the marriage is of their hopes and their doom. The movie is filled with moments like that, and they’re just right. I write this for mainly two reasons: 1. The mother fusses. Compared with [Fellini's] other recent films, Amarcord is simple and classic to the point of self-denial. Fascism was no fun in real life, but for that you have to see De Sica’s “The Garden of the Finzi-Continis,” because in Fellini’s garden only characters grow. and to receive email from Rotten Tomatoes and Fandango. Amarcord is a kind of magic only the very best in cinema inspire within us. Bottom line: boring. It is all true, it is. Fellini was notorious for his preference of using actors with strange and unusual faces.
It's like a sitcom except that there are hardly any laughs.
Fellini has ranked for a long time among the five or six greatest directors in the world, and of them all, he’s the natural. The other masterpieces are “La Strada,” “Nights of Cabiria,” “La Dolce Vita,” “8 1/2” and “Juliet of the Spirits.” He made other films of consequence, including “Il Bidone,” “Fellini Roma,” “Fellini Satyricon,” “Casanova” and “The Clowns,” but those six titles show him in the full flood of his talent. It's truly astonishing to see the range of response for other reviewers on IMDB. All of his films are autobiographical in one way of another -- feeding off of his life, his fantasies, his earlier films -- and from them a composite figure takes shape, of a hustler on the make, with a rakish hat and a victorious grin, spinning delight out of thin air, entranced by dreams of voluptuous temptresses, restrained by Catholic guilt -- a ringmaster in love with the swing dance tempos of the ‘40s and ‘50s, who liked to organize his characters into processions and parades. But for his sake, I watched Amarcord, and in the past years have found myself returning to it time and again. Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. And he has the last laugh on the critics of his “structureless” films. ), although the period seems real enough. It’s not only a great movie, it’s a great joy to see. It's been said a lot about memorable scenes and images in "Amarcord": yes, the famous peacock that spreads its plumage on the snow, a magnificent ocean liner that is been greeted by the townspeople, a local tobacconist a woman of such size and proportions that it could be simply dangerous for the teenage boys to try and make their dreams about her come true. Why was this film made? But the movie’s not an autobiography of a character. Monica Belucci in "Malena", Sofia Lauren in "Marriage Italian Style"? | 2. (The majority of the cast were selected from amateur groups all over Northern Italy. Never have I seen Italy portrayed as lovingly, nor the spectrum of childhood emotions - happiness, love, frustration - represented as frankly.
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