General Editor: Ray Carney, Boston University Italian cinema, including The Films of Roberto Rossellini and Italian Cinema: From Neorealism to the Present. He is the author of numerous books and articles on Peter Bondanella is Distinguished Professor of Comparative Literature, Film Studies, Italian, and West European Studies at Indiana Rejecting an overtly ideological approach to Fellini’s cinema, Bondanella emphasizes the director’s interest in fantasy, the Unique and personal cinematic vision as it transcends Italian neorealism. Roberto Rossellini, this study traces the development of Fellini’s Providing an overview of Fellini’s early careerĪs a cartoonist and scriptwriter for neorealist directors such as Most renowned filmmakers through close analysis of five masterpieces that span his career: La strada, La dolce vita, 8 1⁄2, Amarcord, and Intervista. He died in Rome in 1993 after receiving an Oscar for his lifetime achievement.The Films of Federico Fellini examines the career of one of Italy’s
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In these films, he sets a joyful, provocative style that went against the cinematographic customs of the day: he continued to shoot in the studio (Cinecittà) and took malicious pleasure in demonstrating cinematographic effects in sequences whose excesses became his trademark, to the extent that the word "Fellinian" has entered the language as a way of describing any extravagant character or situation. With 8½, he moved away from realist cinema in favor of portrayals of his own memories, fantasies or fantasized memories in dream-like films ( Satyricon, Roma, Amarcord, Fellini's Casanova, City of Women, And the Ship Sails On, etc.). Fellini won the Palme d'Or at the Cannes Film Festival in 1960 for La Dolce Vita with Marcello Mastroianni (who was to become his actor of choice) and the curvaceous Anita Ekberg. He began making his own films in the early 1950s ( Variety Lights, The White Sheik, I Vitelloni) and had his first success with La Strada starring his wife Giulietta Masina and Anthony Quinn. After the war, he made his cinema debut as a sceenwriter under a number of Neorealist directors including Roberto Rossellini and Alberto Lattuada. Drawn to journalism and newspaper cartoons, he moved to Rome in 1939.
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#Federico fellini in the flesh professional#
So I assigned the role of Casanova to Donald Sutherland, a sperm-filled waxwork with the eyes of a masturbator: as far removed as you could imagine from an adventurer and seducer like Casanova, but nonetheless a serious, studied, professional actor." (extract from an interview with Fellini-free translation from the French)įederico Fellini, an Italian film director, was born into a middle-class family in Rimini in 1920. "Initially, I had thought of giving the role to Gian Maria Volonté (.) But successive schedule slippages had resulted in breaches of contract.
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It has since been considered by some to be one of Fellini's masterpieces. When the film came out, it was not very well received by the critics, who were puzzled by the excessiveness of the characters and sets and by the lengthy running time. He tries unsuccessfully to stave off his boredom and in the process the pleasures of the flesh are relegated to mere gymnastics in the company of staggeringly well-formed partners who are about as expressive as blow-up dolls. It won the Oscar for best costumes in 1976.įor 2½ hours, Casanova is portrayed as a willing victim of his reputation, skipping from one amorous liaison to the next in a Europe in the grip of a decadent aristocracy. It was one of Federico Fellini's greatest superproductions, filmed entirely in the Cinecittà studios: 1,000 costumes, 600 wigs, a 200-strong technical team, 2,500 extras and an enormous budget.
#Federico fellini in the flesh free#
Fellini's Casanova is a free adaptation of the memoirs of Casanova made in 1976 with Donald Sutherland in the title role.