From 1963 this semi-autobiographical surrealist comedy-drama film directed by Federico Fellini. Co-scripted by Fellini is now considered to be one of the greatest films of all time. It stars Marcello Mastroianni as Guido Anselmi, a famous Italian film director who suffers from stifled creativity as he attempts to direct an epic science fiction film. Shot in black-and-white by cinematographer Gianni di Venanzo, the film features a soundtrack by Nino Rota with costume and set designs by Piero Gherardi.
And the Ship Sails On (Italian: E la nave va) is a 1983 Italian film by Federico Fellini. It depicts the events on board a luxury liner filled with the friends of a deceased opera singer who have gathered to mourn her. The film was selected as the Italian entry for the Best Foreign Language Film at the 56th Academy Awards, but was not accepted as a nominee.
Interviewed by a Japanese TV crew for a news report on his latest film, Fellini takes the viewer behind the scenes at Cinecittà. A nighttime set is prepared for a sequence that Fellini defines as “the prisoner’s dream” in which his hands grope for a way out of a dark tunnel. With advancing age and weight, Fellini is finding it difficult to escape by simply flying away but when he does, he contemplates Cinecittà from a great height.
The next morning, Fellini accompanies the Japanese TV crew on a brief tour of the studios. As they walk past absurd TV commercials in production, Fellini’s casting director presents him with four young actors she’s found to interpret Karl Rossmann, the leading role in the maestro’s film version of Kafka’s Amerika. Fellini introduces the Japanese to the female custodian of Cinecittà (Nadia Ottaviani) but she succeeds in putting off the interview by disappearing into the deserted backlot of Studio 5 to gather dandelions to make herbal tea. Meanwhile, Fellini’s assistant director (Maurizio Mein) is on location with other crew members at the Casa del Passeggero, a once cheap hotel now converted into a drugstore. Fellini wants to include it in his film about the first time he visited Cinecittà as a journalist in 1938 during the Fascist era. Past and present intermingle as Fellini interacts with his younger self played by aspiring actor, Sergio Rubini. After the crew reconstruct the facade of the Casa del Passeggero elsewhere in Rome, a fake tramway takes young Fellini/Rubini from America’s Far West with Indian warriors on a clifftop to a herd of wild elephants off the coast of Ethiopia. Arriving at Cinecittà, he sets off to interview matinee idol, Greta Gonda.
Seamlessly, the illusion takes over the realities of moviemaking as the viewer is thrown into two feature films being directed by tyrannical directors. But only for a short while; for the rest of the film, Fellini and his assistant director (Maurizio Mein) scramble to recruit the right cast and build the sets for the film version of Amerika, a fictitious adaptation that Fellini uses as a pretext to shoot his film-in-progress. This allows Fellini/Rubini to go back and forth in time to experience filmmaking first-hand including disgruntled actors who failed their auditions, Marcello Mastroianni in a TV commercial as Mandrake the Magician, a bomb threat, a visit to Anita Ekberg’s house where she and Mastroianni re-live their La Dolce Vita scenes, screen tests of Kafka’s Brunelda caressed in a bathtub by two young men, and an inconvenient thunderstorm that heralds the production collapse of Amerika with an attack by bogus Indians on horseback wielding television antennae as spears.
Back inside Studio 5 at Cinecittà, Intervista concludes with Fellini’s voiceover, “So the movie should end here. Actually, it’s finished.” In response to producers unhappy with his gloomy endings, the Maestro ironically offers them a ray of sunshine by lighting an arc lamp.
Fellini’s Casanova is noted for its symbolic, highly stylised mise en scène and the casting of Donald Sutherland in the lead role.
By using a range of visual effects, Fellini attempted to depict Casanova as a debauched figure incapable of displaying any genuine emotion. This Felliniesque style is most noticeable in Sutherland’s acting and appearance, which was made overtly graphic at the director’s request. Other unusual techniques include a scene where Sutherland rows across a stormy sea made from black plastic sheets.
Fellini’s dislike of the character was well documented, and in one interview he even referred to exposing “the void” of Casanova’s life. Consequently, Fellini’s interpretation goes against the traditional notion of Casanova as an enlightened gadabout. The original script was very brutal on the historical figure. It wasn’t until Fellini shot the scene of Casanova and the nun that he began to sympathize with Casanova’s inability to love, giving him the character of the mechanical doll and the dream ending.
Interesting insight into one of the great minds of film-making, Frederico Fellini. Here he discusses making motion pictures and his unorthodox methods. He describes his artistic inspirations and takes us to one of those, the Colisseum at night. We also go with him on a subway ride past Roman ruins, to the Appian Way, to a slaughterhouse, and on a visit to Marcello Mastroianni’s house. We also are treated to a fascinating day at Fellini’s office as he interviews a parade of unusual characters seeking work or his help. Give this a watch.
Watch Fellini “The Clowns” in Fantasy | View More Free Videos Online at Veoh.com
I clowns (also known as The Clowns) is a 1970 television film by Federico Fellini about the human fascination with clowns and circuses. It was made for TV, the Italian station RAI with an agreement that it would be released simultaneously on TV and as a cinema feature; RAI and co-producer Leone Film compromised on its release, with RAI broadcasting it on Christmas Day, 1970, and Leone Film releasing it theatrically in Italy the following day, Dec. 26, 1970. It is a part-documentary, part fantasy.
Amarcord is a 1973 Italian drama film directed by Federico Fellini, a semi-autobiographical coming-of-age tale that combines poignancy with bawdy comedy. It tells the story of a wild cast of characters inhabiting the fictional Borgo based on Fellini’s hometown of Rimini in 1930s Fascist Italy. Amarcord is Romagnolo for “I remember”.
Titta’s sentimental education is emblematic of Italy’s “lapse of conscience”. Fellini skewers Mussolini’s ludicrous posturings and those of a Catholic Church that “imprisoned Italians in a perpetual adolescence” by mocking himself and his fellow villagers in comic scenes that underline their incapacity to adopt genuine moral responsibility or outgrow foolish sexual fantasies.
The film won the Oscar for Best Foreign Language Film, and was nominated for two Academy Awards: Best Director and Best Writing, Original Screenplay.
Movie: Fellini’s Roma (1972)
A virtually plotless, gaudy, impressionistic portrait of Rome through the eyes of one of its most famous citizens. blending autobiography (a reconstruction of Fellini’s own arrival in Rome during the Mussolini years; a trip to a brothel and a music-hall) with scenes from present-day Roman life (a massive traffic jam on the autostrada; a raucous journey through Rome after dark; following an archaeological team through the site of the Rome subways; an unforgettable ecclesiastical fashion show) Written by Michael Brooke <email@example.com>
Goofs: Anachronisms: Peter Gonzales Falcon’s hairstyles are all in the longish 1972 mode, even though the portions of the film in which he appears are supposed to be taking place thirty or years earlier, at which time men’s hair was cut much, much shorter, and would never be worn as it appears in this film.
Movie: Fellini Satyricon (1969)
In first century Rome, two student friends, Encolpio and Ascilto, argue about ownership of the boy Gitone, divide their belongings and split up. The boy, allowed to choose who he goes with, chooses Ascilto. Only a sudden earthquake saves Encolpio from suicide. We follow Encolpio through a series of adventures, where he is eventually reunited with Ascilto, and which culminates in them helping a man kidnap a hermaphrodite demi-god from a temple. The god dies, and as punishment Encolpio becomes impotent. We then follow them in search of a cure. The film is loosely based on the book Satyricon by Gaius Petronius Arbiter, the “Arbiter of Elegance” in the court of Nero. The book has only survived in fragments, and the film reflects this by being very fragmentary itself, even stopping in mid-sentence. Written by Steven Pemberton <Steven.Pemberton@cwi.nl>
Movie: 8½ (1963)
Guido is a film director, trying to relax after his last big hit. He can’t get a moments peace, however, with the people who have worked with him in the past constantly looking for more work. He wrestles with his conscience, but is unable to come up with a new idea. While thinking, he starts to recall major happenings in his life, and all the women he has loved and left. An autobiographical film of Fellini, about the trials and tribulations of film making. Written by Colin Tinto <firstname.lastname@example.org>
- Director: Federico Fellini
- Release Date:25 June 1963 (USA)
- Run Time:138 min
- Country: Italy , France
- Genre: Drama , Fantasy
Tagline: A picture that goes beyond what men think about – because no man ever thought about it in quite this way!