Amarcord (1973)

4/5

Federico Fellini's Amarcord is a vivacious tale of a year in the life of a young man on the cusp of manhood. It is also about Borgo, the seaside town he resides in (based on the real-life Rimini where Fellini grew up), and all of its bizarre, quirky inhabitants. But there is not much of a traditional narrative structure. Amarcord is more a series of vibrant images, the kind that resides in your childhood memory, with little to link them together. This seems to be what Fellini specializes in: aesthetically unique visuals strung together more by proximity rather than plot. Even without something to glue the vignettes together, there is still a surprising thematic unity. The overarching seasonal changes also help to tie the stories together and brings the finale back to the start.

Technically, Fellini is as good as he ever was. The cinematography is beautiful, the editing is tight, and the acting is spot-on. And it is a pleasure to watch, with some surprising scenes (the tobacconist) and some poignant ones (the eccentric uncle). The movie reminded me a lot of Cinema Paradiso, one of my all-time favorite films, but simply doesn't reach the same power or meaning for me. I know they were made with different intents and it is perhaps unreasonable to compare the two, but Cinema Paradiso is definitely more my kind of movie. Still, Amarcord is an impressive film for many reasons and definitely goes highly recommended by me.

IMDb link: http://www.imdb.com/title/tt0071129/

La Dolce Vita (1960)

4/5

Federico Fellini's La Dolce Vita, The Sweet Life in English, tells the story of journalist Marcello (Mastroianni) and the wild, extravagant bacchanalias he shares with international actresses and other wealthy women. The movie is adept at showing the striking disconnect between how the celebrities appear and how they truly are. Through Marcello's eyes, we see the excessive, endless parties lasting well past sunrise that inevitably result in his unconsummated lust. We see their paparazzi-bloated image twist his mind into thinking he's experienced unrequited love; only on the following day do we see what kind of lives they actually lead. We realize we really have no idea who these people are, and neither did Marcello, which only causes him to drown his sorrows in more drinking. In part a condemnation of sensationalist media (Fellini actually coined the term paparazzi in this movie), in part an exposé on the lifestyles of the rich and the famous, this film is astute and meaningful, absorbing and immersing, and above all aesthetically mesmerizing.

La Dolce Vita is visually intoxicating from start to end. Something about the cinematography, the movement of the camera, the movement of the characters, makes the whole film seem so alive. The film itself dances to Nino Rota's score. That is not to say that the 2 hour, 45 minute film is without flaw. It takes a while to make its message known; it seems to espouse the vapid lifestyles at first and only at the end are we meant to realize their inadequacies. It has its fair share of boring parts. In fact, the parties themselves turn boring quite quickly--an intended effect, I presume--and the parties form the bulk of the film. Also, it was sometimes confusing trying to orient yourselves to time, place, and person because of the repetitive nights Marcello spends wandering the streets of Rome. Still, La Dolce Vita is well worth watching and well worth remembering.

IMDb link: http://www.imdb.com/title/tt0053779/

I Vitelloni (1953)

3/5

Federico Fellini's I Vitelloni follows a group of five lazy punks in their late 20's who hang out, womanize, and make mischief, all while living with their parents. They are a vulgar and unlikable group of young men, and watching them rouse rabble is not as enlightening or awe-inspiring as Fellini perhaps intended it to be. It is apparently somewhat autobiographical, which I lament, and may therefore have much more meaning to him than to me. It is at the very least more engrossing than other Italian films I've seen of late (La Notte, L'Eclisse), mostly because this one has plot progression, but it was not a particularly pleasant or enjoyable experience for me. They're all such awful people and their otiose and indolent lifestyles are too glorified for me to view them with anything but disgust.

While I did not like the content of this movie, there were glimmers of technical talent that I did appreciate. Some of the shot compositions were absolutely beautiful. The use of long takes, of fluid camera movement, and of natural blocking gave the film a lifelike yet polished feel. The music was ubiquitous and delectable, although sometimes it bordered a bit too closely on the melodramatic. I really miss this kind of classic filmmaking. If you're interested in tracking Fellini's style over his life's work, then this is definitely an interesting one to watch. If you just want a movie to kick back and enjoy, this may not be the movie for you.

IMDb link: http://www.imdb.com/title/tt0046521/

Nights of Cabiria (1957)

4/5

This film is utterly absorbing from start to finish. The ending is, as numerous reviews have stated, breathtaking. No account or description can do it justice; it must be felt. Once you see it, you never forget it. Fellini is a master of composition and timing. Nights of Cabiria is about a prostitute who wanders the streets of Rome looking for love and finding only heartbreak. Masina's character, Cabiria, evolves in front of our eyes. There is one specific scene involving a hypnotist who captivates and controls not only Cabiria, but the audience as well.

I thought some of the acting by Masina was over the top, but at times I think that is precisely how her character should have been played. Either way, it irks me a little. Some scenes seemed to wander from the main theme, but individually they were great. The film challenges you to piece them together. And you will be much better off for doing so.

IMDb link: http://www.imdb.com/title/tt0050783/