amarcord
“officine amarcord” the name draws inspiration by a famous italian movie of federico fellini and “officine” stands for workshop whereas “amarcord” is a recall of a memory in a nostalgic key .
looking for movie tickets? enter your location to see which movie theaters are playing amarcord near you .
watching amarcord was possibly the closest i' ve ever come to having that feeling represented through cinema .
lock in a great price for amarcord b & b – rated 9. 1 by recent guests !
the production of electric motors and the car recovered occur at officine amarcord plants, sites in italy .
amarcord b & b accepts these cards and reserves the right to temporarily hold an amount prior to arrival .
cafe amarcord is not available for your requested time. choose another time, or search restaurants with availability .
we are proud that our documentary was finalist in this beautiful and prestigious festival. thanks to chicago amarcord arthouse television awards
amarcord b & amp; b accepts these cards and reserves the right to temporarily hold an amount prior to arrival .
fascists march in
amarcord ,
which explores small - town life in the italy of the filmmaker' s youth .
amarcord (127 minutes, at e street cinema) is rated r for brief nudity, sexual content and adult themes .
© 2017 copyright officine amarcord - divisione di newtron italia srl, italia - p. iva 13718441002 - designed by bagaglio81 - webusiness
ribald, sweet, and sentimental, amarcord is a larger - than - life journey through a seaside village and its colorful citizens .
amarcord embodies this equivocation between memory and invention, between a world represented (remembered) and a world created (imagined). amarcord is not memory—or if it is, it is false memory—not fragments of what once was but fragments of what is imagined to have been .
amarcord
won the oscar for best foreign language film, and was oscar - nominated for both best direction and best original screenplay .
original american release trailer for federico fellini' s amarcord, now playing in a new 35mm restoration from janus films. visit urltoken for more information .
orthodox fellini lovers will give primacy to la strada or la dolce vita, but amarcord has its fans, and it' s easy to see why .
seen today, amarcord is something of a disappointment, clever and moving in places, but also sprawling, undisciplined, clumsy in patches, and decidedly overlong .
amarcord b & b is located in ciampino and it features free wifi throughout. it offers modern - style rooms, a shared terrace and a shared kitchen .
ciampino airport is just 2. 5 mi from the b & b amarcord. frascati, famous for its wine, is a 15 - minute drive away .
amarcord is delightful. it' s real movie magic. the unapologetically contrived kind. it' s perfectly unreal. it' s achingly terrific. amarcord is compelling in all the ways that really, actually matter. it' s astonishingly artificial but pure and true. it' s one of my favorite all - time films .
amarcord (i remember) is a movie co - written and directed by italian director federico fellini in 1974. oscar in the category of best foreign language film in 1975 .
in amarcord, fellini had this remarkable way of tying all these coming of age encounters together for a boy living in this quirky seaside town, into a funny and enjoyable light cinematic experience .
fellini' s ability to compose a frame that oozes baroque drama and vitality is almost unparalleled and amarcord more or less succeeded for me in evoking a time period through the eyes of a young boy ...
birra amarcord gradisca is a classic lager noted for its unique aroma and its unsurpassed hoppy flavour. it is characterized by a brillant golden color, a compact head, and its fresh, thirst - quenching qualities .
the amarcord arthouse television awards (aatva) is a web - only competition with the focus on arthouse films made primarily for television and video. aatva is a division of the blow - up arthouse film festival. it links the most creative artists together with very intelligent audiences for its annual festival of narrative, musical and documentary films, shorts, animations, experimental films, and student work. the festival was named after the fellini' s iconic film
amarcord
.
an unorthodox semi - autobiography of director federico fellini, 1930' s italy, amarcord is a vivid and ill - tempered mock of the personal youth of the director - author enriched by adolescent desires and social - political subtexts. bellissima !
starting today, federico fellini’s enduring autobiographical amarcord is back on the big screen, in a newly restored print from janus films, supervised by director of photography giuseppe rotunno. after a two - week run at new york’s film forum, fe…
much like the other fellini movies i have seen including' la dolce vita' and ’8 1 / 2’, amarcord flows along with a very loose narrative structure. there is not much depth given to each character, but it remains engaging…
please read these rules & terms carefully before you submit your film. by submitting your film into competition in the amarcord arthouse television & film fest awards, you expressly acknowledge and agree that you shall be bound by the terms of these rules & terms .
the characters in fellini’s early films tend to be more realistic and individualized than those in his later ones, where circus elements are more evident and characters less natural, more fantastic and exaggerated. that is, whereas in the white sheik (1952), fernando rivoli is both rivoli and the clown he plays, in amarcord, there are no such divisions. rivoli dreams and wanda dreams in the white sheik, but in amarcord, gradisca is a dream, as are uncle teo and the whole of the film .
i couldn’t agree with those criticisms. 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. and he has the last laugh on the critics of his “structureless” films. because “amarcord” seems at first to be a series of self - contained episodes and then reveals a structure so organic and yet so effortless that at its end, we can only marvel at this triumph over ordinary movie forms .
federico fellini was born and brought up in rimini, italy, a small seaside town in the province of emilia - romagna. amarcord is a neologism he contrived, which comes closest to the emiliano - romagnolo dialect phrase mi ricordo (i remember). fellini, a …
sellout crowds have caused new york' s film forum to extend its run of the new janus films restoration of amarcord for another six days, until december 23. so, new yorkers, it' s not too late to see this “fun - house tour through fellini’s mind” on…
even federico fellini acknowledged that he had the habit of making the same film again and again, and
amarcord
is just that film. orthodox fellini lovers may give primacy to the earlier, more narrative dramas ,
8 1 / 2 ,
la strada
or
la dolce vita ,
but
amarcord
may be a more perfect summary of
felliniesque ,
the sumptuous carnival style that defined fellini' s work from the late 1960s on. and it proves that felliniesque means much more than just a shorthand term for the bizarre .
this is not what happens in fellini’s i vitelloni (1953), the film apparently closest to amarcord in its depiction of a small seaside town like rimini. in i vitelloni, the town is in fact like rimini, and the events that befall the characters elicit realistic tears, anguish, and anger; in amarcord, to the contrary, the town is a caricature. it seems completely constructed, as false as the tears of gradisca and as delusive as her dream marriage—and as contrived as the animal sexual hunger of volpina (foxy), the town nymphomaniac .
today i had the great pleasure of watching the masterpiece
amarcord
again. the film is a charming series of vignettes set in fellini' s seaside hometown during his childhood in 1930s italy. a warm and gentle comedy, it lovingly skewers the platitudes by which everyday people manage their daily lives .
the goal of “officine amarcord” is to give new life to legendary models of cars that are in the memories and dreams of many passionate people by turning them into roadworthy and green vehicles so that they will not only be beauties to admire in a car salon but they can get back to their duty on the roads .
never have i seen a childhood nostalgia film be so brutally honest when it comes to the real life places and people that the story is inspired from. amarcord comes from the mind and memories of the great federico fellini' s carnivalesque and alien brain. this film is supposed to be a very personal and achingly nostalgic portrait of the directors youth in a small 1930' s seaside village and italy, and while i didn' t grow up in italy, nor was i born anywhere near 1930, i can tell you that no matter where you are from or how you got to where you are now, amarcord will feel like home .
federico fellini was born and brought up in rimini, italy, a small seaside town in the province of emilia - romagna. amarcord is a neologism he contrived, which comes closest to the emiliano - romagnolo dialect phrase mi ricordo (i remember). fellini, a great liar, denied this origin, claiming instead that it was a mysterious, cabalistic word, linked to invention rather than memory. whatever the meaning, amarcord evokes another world: evanescent, unreal, unreachable, impalpable, like an image in the depth of a mirror that can be attested to for only a brief instant before it vanishes, like the images of the cinema .
in
amarcord ,
fellini shows us the sexual dreams of teen boys, whose tender age blocks their fulfillment. he shows us the sexual dreams of adults, which look quite similar - - - but while unblocked by age, they are infantilized by religious guilt, political corruption, and a simplistic vision of gender relations .
amarcord presents a topsy - turvy universe of libidinous grandfathers, crazy uncles, hysterical mothers, constantly bickering families, and dwarf nuns. sexually frustrated male teenagers such as titta (bruno zanin) fantasise over gradisca - herself seduced by hollywood notions of glamour in her trips to the local cinema - and over an enormous - breasted female tobacconist .
it' s real - life magic. it' s honest - to - god supernatural. it' s a very special film. amarcord changed my life. i feel like i' ve never truly understood cinema until now. i feel like i can do anything. i feel like magic must feel. i feel like fairy dust .
and we can marvel, too, at how universal “amarcord” is. this is a movie for everybody, even those who hardly ever see foreign or “art” films. fellini’s greatest achievement, in my opinion, was “8 1 / 2. ” but that was a difficult film that revealed its meaning only after a good deal of thought and repeated viewings .
this carnivalesque portrait of provincial italy during the fascist period, the most personal film by federico fellini, satirizes the director’s youth and turns daily life into a circus of social rituals, adolescent desires, male fantasies, and political subterfuge, all set to nino rota’s classic, nostalgia - tinged score. the academy award–winning amarcord remains one of cinema’s enduring treasures .
this carnivalesque portrait of provincial italy during the fascist period, the most personal film from federico fellini, satirizes the director’s youth and turns daily life into a circus of social rituals, adolescent desires, male fantasies, and political subterfuge, all set to nina rota’s classic, nostalgia - tinged score. the academy award–winning amarcord remains one of cinema' s enduring treasures .
amarcord is a 1973 italian comedy - drama film directed by federico fellini, a semi - autobiographical coming - of - age tale about titta, an adolescent boy growing up among an eccentric cast of characters in the village of borgo san giuliano (situated near the ancient walls of rimini) in 1930s fascist italy. the film' s title is a romagnol neologism for
i remember .
this little documentary is about maestro fellini, and his brilliant work on oscar winning masterpiece
amarcord
. i do not own rights for this video, but i would like to share with all of you who are fans and lovers of fellini' s work. some of the very close friends and collaborators of maestro fellini speak of his vision and dreamy world he created in glorious cinecitta. enjoy
in amarcord, the rex is made of cardboard, the sea of plastic, the sunset of paint. very little is natural, and when it is, it is parodied and deformed. the natural was not an opportunity for fellini, material to be recorded or rearranged, but rather a constraint, like rationality, defined order, and logic were—a limit on his creativity—and that is why the natural, the narrativized, and the realistic began to disappear from fellini’s work, at first imperceptibly, before 1960, and then markedly afterward. the films increasingly became the expression of the soul of fellini—not his autobiography, his life to be represented, but what he wished to express. “there is nothing autobiographical in amarcord, ” he said (nor is there in his celebrated essay “my rimini, ” which is neither autobiography nor exactly recollection but something rather more delicate and poetic: reminiscence). this expressive reality is made up of the spirits of fellini, like those of juliet in juliet of the spirits (1965). his films objectify these spirits and in so doing liberate them. the clowns of amarcord are such spirits, not memories exactly but compressed symbols and associations, as in a dream .
amarcord is like a circus, composed of numbers, perfectly linear and sequential but whose links are neither logical, dra­matic, nor narratively motivated. each of the numbers in the film is a circus act, and the actors are the circus clowns. indeed, there is no story in amarcord, simply a collection of these episodes, whose order is only marginally consequential or where consequence is not of great importance: the seasons will change, miranda will die, gradisca will marry. since the figures are essentially only images that have been designed, sketched, and exaggerated, rather than developed and given body to, they are simultaneously eternal and ephemeral, like the ocean liner rex, which appears in its impossible magnificence out of the blackness of the sea at night, bringing gradisca to tears and the others in boats to shouts of astonishment at the unreal wonder of it, in a kind of maritime séance. even fascism is made into spectacle: were this a realistic film, fascism would be a politics that would eventually be overcome; in amarcord, because fascism is only an act of clowns dressed up in a circus, it seems to be timeless, a perpetual provincialism and infantilism, more symbolic than historical or real, like chaplin as the great dictator .
amarcord is considered an exaggeration of federico fellini' s reality of his childhood mixed with fragments of what could be true and fragments that are only imagined to be true .
there' s nothing autobiographical in amarcord ,
fellini had stated. even the lawyer who is one of the main narrators in the film even admits to the audience that the stories he is giving us might not even be completely accurate especially coming from the character of biscein, who he accuses of being a born liar and of making up a new story every single day. if the film amarcord gives off an artificial like quality, it is never so obvious as it is in the scene with the arrival of the great liner red which is clearly made of plastic and paint. when rex passes all the townspeople out in their boats the look of the liner and the waves it is riding on look as fake and artificial as the town of borgo and of its comic book like inhabitants; which in many ways suggests an illusion to reality. even the sudden arrival of the fascist leaders seem like an absurd comic spectacle as you watch fascists marching down the streets looking like a bunch of clowns in one of fellini' s circuses with a ridiculous looking papier - mâché mussolini which looks more similar to a grotesque bulldog .
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. he includes a character undoubtedly meant to be young federico - - earnest, awkward, yearning with all the poignancy of adolescent lust after the town beauties. but the movie’s not an autobiography of a character. it’s the story of the town itself .
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. fellini implies that this simple behavior is nourished by a system that encourages a mindless going along - - but “amarcord” isn’t a political movie. it is a memory, fond but merciless, of how it was in italy at a certain time .
the italian title
amarcord
has been rendered in english as
i remember ,
and quite rightly this a very personal reminisce about the past of writer - director federico fellini. it focuses on the 1930s when he was growing up in the italian village of rimini and fascism was on the rise in italy. by now, having seen seven of his films, i think i have a pretty good idea of what to expect from the
maestro .
urltoken is turning 15 and giving itself a special gift. it is supporting the restoration of one of the most iconic films of italian cinema ,
amarcord
. released in 1973, this masterpiece, which earned federico fellini an oscar for best foreign language film, has been restored to its original glory thanks to the know - how of the cineteca di bologna' s cinematic restoration laboratory, l' immagine ritrovata, considered one of the finest in the world .
“amarcord, ” on the other hand, is a totally accessible film. it deals directly, hilariously, and sometimes poignantly with the good people of this small town (actually fellini’s birthplace, rimini). 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. it’s not only a great movie, it’s a great joy to see .
the beauty of film rests in the fragility of its images, a fragility often denied by narrative structures so tightly bound that images become firmly fixed in place. it is exactly in that place that fellini’s films open up, and in doing so make images precious, alive, and transitory. the essential subject of fellini’s films, and particularly of the late ones, like amarcord, is the cinema itself, another world: ephemeral, touching, ineffable, comic, and grand... like a pheasant in the snow .
the amarcord arthouse television & film fest awards (aatva) is open to any film completed after january 1, 2013 regardless of content, subject, or origin. submitting your film to the aatva is not a guarantee of selection. all the official selection, nominees and the winners will be listed on our website permanently. all the winning films will receive a trophy award or certificate. please read all rules and regulations before submitting your project. please note that we do not offer application fee waivers: we treat every filmmaker equally .
if ever there was a movie made entirely out of nostalgia and joy, by a filmmaker at the heedless height of his powers, that movie is federico fellini ’s “amarcord. ” the title means “i remember” in the dialect of rimini, the seaside town of his youth, but these are memories of memories, transformed by affection and fantasy and much improved in the telling. here he gathers the legends of his youth, where all of the characters are at once larger and smaller than life - - flamboyant players on their own stages .
“amarcord” is like a long dance number, interrupted by dialogue, public events and meals. it is constructed like a guided tour through a year in the life of the town, from one spring to the next. there are several narrators, including an old rummy - dummy who visibly forgets his lines, and a professor who lectures us learnedly on the town’s historical precedents. 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 .
federico fellini' s dream - like recreation of a year in the life of a fascist - era provincial italian town turned out to be his last significant box office hit, and also won the best foreign film oscar in 1974. shot at rome' s cinecitta studios, the bawdily amusing amarcord dispenses with a traditional plot in favour of a series of communal set - pieces - a spring bonfire, a visit from a government dignitary, a trip to see a giant ocean liner, and the marriage of local beauty gradisca (magali noel) .
amarcord, which means “i remember, ” is federico fellini’s lusty, often funny look at growing - up perhaps not unlike his own. the setting is a village in 1930s italy. teen hormones are surging. family, church and friendship are proving grounds of love and loyalty. fascism’s rise is just down the street. sex is around any corner. and life viewed in the local cinema is a touchstone for life lived. the memories, big and small, endure. so does the appeal of this best foreign language film academy award ® winner .
all of fellini’s films—from those up to la dolce vita (1960), which represent worlds (narrativized, realistic, dramatic), to those after la? dolce vita, including amarcord (1973), which create worlds (dreamlike, episodic, artificial) —have a similar source in popular entertainments: the circus, with its clowns and unreality; variety theater, with its vulgarity and hyperbole, especially sexual; comic books, with their caricatures and sketchiness; silent film comedies, with their grace and innocence (chaplin, keaton, laurel and hardy) .
at times in amarcord, the characters speak directly to a filmmaker (fellini ?), who appears to record the events and actions in the town. there is in the film, as in so many late fellini works, the figure of a journalist - documentarian - archivist, who reports and comments on the happenings that are seen. but this is false, and rather than rendering the events as true, the device emphasizes their unreality and the artificiality of the representations. as the characters are exaggerated, so too is the documentary, and both become unreal .
…we chose to call our beer gradisca, because we brew it in this corner of romagna and san marino, between the sea and the hills, a land rich in history and amazing stories. but above all, as a tribute to an illustrious celebrity who was born here, film director frederico fellini, who conquered cinema - goers the whole world over with his rich and poetic vein of inspiration, winning as many as four oscars for his films, including, of course, amarcord, where gradisca is the protagonist. 4. 7% alc. vol .
fellini’s films (certainly his later ones, including amarcord) bear the marks of their imme­diacy, sketchiness, momen­tari­ness, lack of finality, lack of development, inspirational and free associations (“you begin to shoot an action, and suddenly you are taken with the shimmering of light on a crystal of glass”). such processes, essentially irrational, unconscious, almost impossible to plan (the vagaries of light, a sudden glimmer of recognition), were for fellini (impressed by jungian psychology and its notion of archetypes) signs of creativity and artistry. they were the i, the me, of fellini .
amarcord is a bit much to wrap your head around in a single viewing. generally speaking, there' s no central protagonist or plot, and instead of this traditional narrative structure, the film offers what is basically a series of vignettes that involve a similar set of characters and that take place in a similar setting. what it' s about isn' t totally obvious—which is probably for the best, rather than having them shallowly play out on the surface—but what is obvious is that it' s less a customary story about a single person and more a chaotic poem about a specific place and time .
in amarcord, fellini evokes a year in the life of the small italian coastal town of rimini in the mid - 1930s with free - spirited fantasy, bittersweet comedy, and intimate detail. though filled with phantasmagorical gems from the director’s imagination, the film is also rooted in history, filtered through memory: focusing on one family of perfectly normal eccentrics, fellini examines their impact on one another’s lives and the impact of life on them through a series of intersecting tales. fascism was a fact of life and, for fellini, a focal point around which to examine the community, the church, the state, and the family .
“amarcord” is obvious in that way, with a showman’s flair for the right effect. 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. and when it comes, it towers hundreds of feet above the waves and has thousands of portholes - - and is, of course, only a prop built by the special - effects men. it drifts away into invisibility like a candle dying out. the image is of italy itself in the 1930s: all grandeur and pomp and nationalism, but with an insubstantial soul .
in addition to its enduring artistry and wise look at the human family ,
amarcord
has special resonance today. as the world' s attention focuses on the islamic community, there' s a perfect storm brewing there. very high unemployment among men (women generally don' t go to work in most muslim countries) means that many young men can' t get married, and are still living at home. this, plus the lack of premarital sex (with little privacy for unmarried couples who are so inclined) means that several hundred million muslim young men can' t have sex (except for prostitutes or boys) .
i admit i' ve never been a huge fellini fan, but i found amarcord to be quite engaging. if anything, it' s a portrait of humanity at its most interesting. the movie is funny, strange and surreal, but all at the same time being grounded in the reality of the story. the only minor problem that i had with it is its leisurely pace during portions of the film when you just want to move on to the next adventure. i may be alone in that, but i felt it watching it. otherwise, the film is a wonderful look at growing up in italy through the eyes of frederico fellini .
given how integral music is to the film' s effect, it' s a detail that needs improving. and given how much this film is about memory - - the personal memory of titta, the collective memory of political events and the house - of - mirrors memory we' re all prone to when we see the real world through cinema - tinted glasses - - it' s sad the whole project isn' t a little more impressive. but then, it' s rare to see
amarcord
on the big screen, and no one should be scared away by a
restoration
that leaves the film looking no worse than its fabulous old self .
the title amarcord apparently translates in roman dialect as
i remember
, yet this chaotic film is in no way a straightforward recollection of childhood experiences. as fellini himself once commented :
my films from my past, recount memories that are completely invented .
the scatological jokes about masturbation, belching, and farting coexist with an air of melancholy that' s maintained by nino rota' s evocative music. fellini constantly draws our attention to the fact that we' re watching a piece of fiction: the residents' stories are far from reliable, actors deliver their lines to camera, and the elderly narrator (luigi rossi) is interrupted by off - screen disruptions .
i would consider myself a fellini fan. before this, i had seen four of his films, one of which is in my all time top 10, 8½. i loved nights of cabiria and la strada for their charm and simple stories. however, the one i was not so hot on was his palme d' or winning la dolce vita, which i thought was meandering and annoying. amarcord is more interesting than that film, but not as captivating as the other three. when i wasn' t bored with what was happening, i was annoyed by the erection it gave me. i really think fellini handled that aspect of the movie rather poorly. …
in fellini’s intervista (1987), his next - to - last film, he plays himself, a filmmaker shooting a film called amerika, based on the novel by kafka. in one scene, in his office at cinecittà, he is interviewing a number of actors (all of whom are caricature “types”) for roles in his forthcoming film. probably the scene is not unlike fellini’s actual method of making a film. the first step for him was not the script or the story that the film would illustrate but rather faces and images that would evoke a world. amarcord is exactly that, a “world, ” part circus, part science fiction, composed of images of its inhabitants .
fellini' s satire of the catholic church - in the figure of the priest don baravelli - highlights the absurdity of the educational system and its nonsensical system of rote learning, and it shows how the childish nature of the town' s adults facilitates their collusion with the fascist governing system. the raucousness of amarcord can feel overwhelming at times, and you may not entirely share fellini' s love for these larger - than - life characters. yet there are still images to treasure, such as a peacock emerging from the fog, the collective wonder at the vision of the great ship (represented by a cardboard model !), and finally the bittersweet aftermath of gradisca' s wedding .
the film is set during the stage - opera phase of italian fascism, which it sees as a delusion of foolish people - - and yet the father in the family, a communist who plays the internationale from a phonograph in the church tower to protest the visit of a fascist leader, is no less foolish. politics in “amarcord” are on the level of the endless battle between the parish priest and the communist mayor in the little world of don camillo, giovanni guareschi’s best - seller of a half - century ago: both sides are so italian they prefer the fun of their public drama to winning or losing. 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 .
probably the most popular and accessible of fellini' s films ,
amarcord
(
i remember
) takes the viewer through a full cycle of the four seasons in the small town of rimini, italy in the late 1930s. though more a nostalgic memoir than a strict comedy, the film is full of laughs, involving schoolboy shenanigans, their obsession with sex, a family outing in the country with a mentally imbalanced uncle, and the fantasies of various people, from the sweet teenaged boy at the center of the story to the town beauty he worships, gradisca. but the film also has serious themes, from the coming of the fascists to the death of a family member, and a touch of grandeur here and there. nino rota' s lush orchestral score is an essential and highly memorable element of this lovely 1974 film .
one of italy’s great modern directors, federico fellini was a larger - than - life maestro who created an inimitable cinematic style combining surreal carnival with incisive social critique. while his most popular—and accessible—film, the darkly nostalgic childhood memoir amarcord, is a great entryway into his oeuvre, 8½, a collage of memories, dreams, and fantasies about a director’s artistic crisis, is perhaps his masterpiece. in his early career, fellini was both a screenwriter for neorealist pioneer roberto rossellini and a newspaper caricaturist in postwar rome, competing influences he would bring together with startling results. after such early works as i vitelloni, fellini broke away from neorealism’s political strictures with the beloved la strada, and from there boldly explored his obsessions with the circus, societal decadence, spiritual redemption, and, most controversially, women, in such films as nights of cabiria, juliet of the spirits, and and the ship sails on .
one aspect of amarcord that helps hold the film together and give it continuity is the change of seasons, from the initial appearance of the puffballs that herald the end of winter to their reappearance at the close of the film. an entire year goes by, and its four seasons come full circle. the seasonal changes have more to do with the material of the film, principally the light, than with what is represented: the darkness, shadows, and yellow effect of artificial lights in the winter; the glow of springtime, with its sharp, clear light, followed by summer haze; then the gray, foggy mistiness of autumn, when cows assume strange shapes; and finally, the glare of winter snow. yellows, then, followed by greens, blues, whites, and all of these played off of by the whites and reds of the costuming, particularly of gradisca, whose dress outlines her wiggling bottom .
“amarcord” is fellini’s final great film. 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. 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 .
“amarcord” is fellini’s final great film. 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' s roma, ” “ fellini satyricon, ” “ casanova ” and “ the clowns, ” but those six titles show him in the full flood of his talent. 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 .
the head has significant basic qualities of fineness, density, adherence and persistence. in appearance this is a pale golden beer with a slight haziness that comes from the filtration left deliberately incomplete, ensuring the look of an authentic craft beer. an absolutely enjoyable fineness of aroma, revealing notes of dry grass and a noticeable floral bouquet of hops. full - bodied, fresh and light, an invitation to keep drinking. the varieties used for the dry - hopping that distinguishes gradisca limited edition include nelson sauvin. this is a very rare hop that was bred and developed in the nelson region of new zealand, where it is now cultivated. the particular characteristic of nelson sauvin is given by the presence of essential oils that recall the aroma of fresh gooseberries, a descriptor that is above all also used to describe the bouquet of sauvignon blanc white wine, after which the hop is named. we' ve combined nelson sauvin with saaz, one of the world' s most widely used hop varieties, which has long been a fundamental flavouring that has contributed to the diffusion of most of europe' s bottom - fermented lager beers, greatly enhancing their quality. the meeting between these two hop varieties with such different backgrounds is a daring challenge for amarcord beer, with its choice to use particularly special hops that have played a crucial role in the history of the greatest international beers. the result could only be a beer in the style of an american lager, light but with a distinct personality with malty hints and refreshing notes of hops, which combine to make it extraordinarily enjoyable to drink, a beer that stands out clearly from the crowd .
art direction: dean tavoularis, angelo graham; set decoration: george r. nelson
art direction: richard sylbert, w. stewart campbell; set decoration: ruby levitt
art direction: alexander golitzen, e. preston ames; set decoration: frank mckelvy
art direction: peter ellenshaw, john b. mansbridge, walter tyler, al roelofs; set decoration: hal gausman
art direction - art direction: richard sylbert, w. stewart campbell; set decoration: ruby levitt
art direction - art direction: alexander golitzen, e. preston ames; set decoration: frank mckelvy
actor in a supporting role - michael v. gazzo in
the godfather part ii
art direction - art direction: dean tavoularis, angelo graham; set decoration: george r. nelson
art direction - art direction: peter ellenshaw, john b. mansbridge, walter tyler, al roelofs; set decoration: hal gausman
documentary (short subject) - ronald s. kass and mervyn lloyd, producers
documentary (feature) - natalie r. jones and eugene s. jones, producers
basically the story of a man forced to finally see the injustice around him. riley’s movie is designed to do the same thing to you. …
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
roger ebert' s speech on empathy for the
11th hour
series on april 9th, 1994, being republished here in honor of his birthday june 18 .
roger ebert was born on this day in 1942, and died a little over five years ago. i owe a good part of my success…
a look back at robert zemeckis' half - animated classic, who framed roger rabbit, on its 30 - year anniversary .
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
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 .
sometimes from this tumult an image of perfect beauty will emerge, as when in the midst of a rare snowfall, the count’s peacock escapes and spreads its dazzling tail feathers in the blizzard. such an image is so inexplicable and irreproducible that all the heart can do is ache with gratitude, and all the young man can know is that he will live forever, love all the women, drink all the wine, make all the movies and become fellini .
fellini was more in love with breasts than russ meyer, more wracked with guilt than ingmar bergman, more of a flamboyant showman than busby berkeley. 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 ?
the melody was literal most of the time. like his italian contemporaries, he post - synched most of his dialogue, so it didn’t matter so much how his actors read their lines, and he often had a small orchestra or a phonograph to supply music while a scene was being filmed. that’s why so often in a fellini film the actors don’t seem simply to be walking, but subtly moving to an unheard melody. they seem to be able to hear the soundtrack .
the town itself is a character. we meet the buxom gradisca (magali noel), who runs a beauty parlor and parades her innocent carnality and her red fur hat past the inflamed local men as if she had been elected to a public office; and titta (bruno zanin), who finds gradisca beyond his reach but boldly offers to show the voluptuous proprietor of the tobacco shop that he is such a man he can lift her off her feet; and “ronald colman, ” who runs the local cinema; and titta’s father (armando brancia), who rules the family table with what is intended to be an iron hand; and titta’s mother (pupella maggio), who offers to kill herself more or less daily because of her husband’s idiocy; and her brother, who vainly trains his hair beneath a net and focuses on his meals with a hypnotic concentration; and the local priest, obsessed with whether the boys touch themselves; and all of titta’s playmates, who gather for enthusiastic mutual touchings of self .
every day brings a drama. 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. he throws apples at those who try to climb up to him, and finally the family sends to the asylum for help, and a midget nun arrives to order teo down. this nun wears a headdress so exaggerated we never see her face, and form an instant opinion that she is, in fact, a man .
the arrival of a provincial fascist leads to an absurd public ceremony, all of the fascists trotting from the train station to the public square, where a papier - mache mussolini looks like a comic bulldog. the local youth go through gymnastics exercises no doubt connected to national security. we also glimpse their education, in a hilarious montage of classes in the local school, one interrupted by the most novel and ingenious delivery of urine that can possibly be imagined .
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). local imaginations are inflamed by what must go on at the grand hotel, which none of the locals can afford to step foot in, although gradisca, their heroine, figures in a popular legend there - - and so does the rummy - dummy, when a sultan’s harem lets down their rope ladders for him. gradisca is their carnal fantasy, their symbol of hope, their good - hearted friend. she also supplies an example of the way fellini’s films become his parallel autobiography; gradisca is virtually the same character, in appearance and behavior, as carla (sandra milo), marcello’s mistress in “8 1 / 2. ”
the film’s most beautiful scene involves the snowfall and the peacock feathers. the snow is plowed into impossibly tall walls to make a maze between which the boys and gradisca have a snowball fight. the saddest scene, at the beach, is gradisca’s wedding to a slick fascist leader; the marriage is of their hopes and their doom. she pulls away from her husband to throw her bride’s bouquet, but there is no one to catch it .
the film is saturated with fellini’s affection for these people, whose hopes are so transparent they can see through their own into another’s. all of the fellini visual trademarks are here, including the half - finished scaffold that mediates between heaven and earth, and the grotesque faces of the extras, and the parades and processions, and always the nino rota music (and his arrangements of standards, especially “stormy weather”). fellini shoots in color, and makes special use of the reds and whites of gradisca’s outfits. he is careful to stay mostly in mid - and long - shot, the correct distance for comedy, and uses closeup mostly for intense longing .
his film seems almost to flow from the camera, as anecdotes will flow from one who has told them often and knows they work. if there is a bittersweet undertone, perhaps it is because fellini suspected the film business was changing and his funding and access would never again be the same; this was the last of his films made for no better reason than fellini wanted to make it.
amarcord is a 1973 italian comedy-drama film directed by federico fellini , a semi-autobiographical tale about titta , an adolescent boy growing up among an eccentric cast of characters in the village of borgo san giuliano ( situated near the ancient walls of rimini ) in 1930s fascist italy . the film 's title ( [ amarˈkɔrd ] ) is a univerbation of the romagnolo phrase " a m ' arcord " ( " i remember " ) . the title then became a neologism of the italian language , with the meaning of ' nostalgic revocation ' . 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 . 
amarcord is a 1973 italian comedy-drama film directed by federico fellini, a semi-autobiographical tale about titta, an adolescent boy growing up among an eccentric cast of characters in the village of borgo san giuliano (situated near the ancient walls of rimini) in 1930s fascist italy. the film's title ([ amarˈkɔrd ]) is a univerbation of the romagnolo phrase " a m' arcord " (" i remember "). the title then became a neologism of the italian language, with the meaning of' nostalgic revocation'. 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.
amarcord is a 1973 italian comedy-drama film directed by federico fellini, a semi-autobiographical tale about titta, an adolescent boy growing up among an eccentric cast of characters in the village of borgo san giuliano (situated near the ancient walls of rimini) in 1930s fascist italy. the film's title ([ amarˈkɔrd ]) is a univerbation of the romagnolo phrase " a m' arcord " (" i remember "). the title then became a neologism of the italian language, with the meaning of' nostalgic revocation'. 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.