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Fellini's Roma
Year: 1972
Classification: Foreign Film - Italian

Directed:

- Federico Fellini

Actors/Actresses:

- Britta Barnes
- Peter Gonzalez
- Marcello Mastroianni




A dreamy Fellini journey

Fellini's Roma is a delight for the senses. You do have to throw out your ideas of a conventional narrative, as the vignettes seems to go in a completely random order. Some ideas come back (the bordello, the outdoor restaurants, the apartment living), but they do change every time. Like a dream, or a David Lynch film (it looks like both Lynch and David Byrne watched this film about a million times before Lynch did Lost Highway or Byrne did True Stories), there is a hazy surrealism to the film. The colors and stories are interesting and exciting and the transformations that take place within them (the ride around Rome "like the ring around Saturn" turns from interesting (having never been there) to boring (you keep moving and moving and moving) to tragic, all in a few minutes) are all fascinating. Favorite vignettes include the subway ride to frescos and the old woman and cronies to the fashion show (yes, another thing Byrne stole, as he did the talent show). Is this the "real" Rome? Not a chance, but it does keep you occupied during the two hours. Gore Vidal makes a "end of the world" cameo, which is a strange touch, but fits in with the film.
This is definitely a film which needs to be seen more than once, and does fit in with other Fellini films, everything from Satyricon (the same loopy lack of narrative structure) to City of Women (everything from the fabulous bordello scenes to the boxing match). This is not the best Fellini (the two aforementioned films and 8 1/2 (release it on dvd dammit) and And the Ship Sailed On), but it is an interesting journey. Hippies and the colleseum are well worth the time. Four stars out of a possible five from me.


2757 (Ab Urbe Condita)

Would "Caligula" or "Nero" be shocked at what their city, the Eternal City, the City to which all roads once led, has become so many years into the distant future? Or would they (probably more likely) find a way to fit right in somehow? This is one of the "notions" that I found myself pondering as I watched this movie. It really is a great movie, and it is certainly worth any true film fan's time. I may have even liked (some of it at least) better than (again, "some of") La Dolce Vita. BR> Having grown up in a very Italian family - with my father having been born in a "pagliarone" ( roughly, a slang dialect term meaning "stone hut") in an ancient and very rural village probably not much unlike the one Fellini's main character ventures out to Rome from - I myself was definitely "right at home" , so to speak, watching scenes like the famous "dinner on the piazza". (Personally I could watch that scene again and again and not get tired of it, but...maybe it is "an Italian thing", so to speak, and others would not find it so amusing). However there certainly is no dearth of general humor to be found in the antics of the wild cast of characters which Fellini always brings into his films. And Roma of course is no exception to this. For example, the bedridden obese old woman in a hairnet, who owns the building that he stays in in Rome when he first arrives there, who tells him, "now let's just live in peace and not bust each other's balls"! Or the bald old man who does a rather convincing Mussolini impersonation. My personal favorite though would probably be either the ultra-tanned would-be "Continental" kind of guy who approaches the female American tourist telling her, "You VERY bella" and offering to take her picture, OR the guy in the piazza scene (which is supposed to have taken place some thirty years prior to that) who was wearing one of those nylon "do-rags" that rap stars favor today, and yelling up to his dark, beautiful brooding girlfriend to get down to the piazza before he beats the hell out of her ... "again". Sure, these are walking stereotypes, these characters, and negative ones at that. But, as they say, there is a kernel of truth (at least) in all stereotypes is there not? For instance that "dinner on the piazza" scene that I mentioned before? It does perhaps resemble some sort of "prototypical" summer-night-in-Bensonhurst, or somewhere like that, with plenty of gold chains, "dago-t's", and "pane e vino" to go around. BR> On a more serious note however the most touching scene (and this is a point that is usually generally agreed upon, I think, by most of the movie's fans) is the scene of the sudden (and apparently accidental) destruction of the ancient Roman frescoes by the modern Roman work-crew. Obviously this is Fellini's artistic "condemnation" , if you will, of the massive industrialization of the City in modern times, and the (clearly potentially disastrous) effects of what we may call the "godless modern" encountering th






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