Federico Fellini, Amarcord (1973) - infoh.us fileRather, “Amarcord” for Fellini means “a way...
Federico Fellini, Amarcord (1973) Norman N. Holland Enjoying: Share Fellini's fun with the exaggerations and the endless preoccupation with sex. People read the title Amarcord as “I remember” in the local dialect of Rimini, the town on the Adriatic where Fellini grew up and the let’s-pretend site of this movie (although it was mostly photographed at Cinecittà). Accordingly, people think of this movie as autobiographical, as reminiscences of Fellini’s adolescence. But he objects: “I’m always a bit offended when I hear that one of my films is ‘autobiographical’: it seems like a reductionist definition to me, especially if then, as it often happens, ‘autobiographical’ comes to be understood in the sense of anecdotal, like someone who tells old school stories.” Rather, “Amarcord” for Fellini means “a way of thinking that is doubled, controversial, contradictory, and basically the coexistence of two opposites, the fusion of two extremes, such as detachment and nostalgia, judgment and complicity, refusal and assent, tenderness and irony, weariness and agony. It seemed to me that the film I wanted to make represented all this.” I think Fellini is right, that his film does present a “doubled” way of thinking, and of course he presents it in his episodic, circus-y style. He gives us a succession of events in one year in the life of this town. To show us the whole town, he uses a big cast, and it helps to know some of them before seeing the picture: • Titta. The fifteen-year-old hero (Bruno Zanin) • Gradisca. The town beauty, adored by Titta (Magali Noël). • Aurelio Biondi. Titta’s father who has an explosive temper (Armando Brancia). • Miranda Biondi. Titta’s equally furious mother (Pupella Maggio). • Lallo. Titta’s uncle, a Fascist layabout (Nando Orfei) pampered by his sister, Titta’s mother. • Teo. Titta’s crazy uncle, Aurelio’s brother, usually in an asylum (Ciccio Ingrassia) • Volpina. The town nymphomaniac (Josiane Tanzilli) • The lawyer-narrator. One of several characters who speak directly to the camera (Luigi Rossi) • The tobacconist. Her incredible breasts become Titta’s sexual adventure (Maria Antonietta Beluzzi) Back to the film: “Another title I wanted to give it was Il borgo in the sense of a medieval enclosure, a lack of information, a lack of contact with the unheard of, the new.” In this vein, one recurring image in Amarcord is fog or smoke, a visual emblem for the superstition and ignorance of the people of Rimini. The Church and the Fascist regime and the dreadful schooling all compound this ignorance. Adding to the confusion are the nicknames. Nobody goes by their right name. Everybody is addressed by a nickname usually based on some body feature like “Nose” or some obscenity like
Federico Fellini, Amarcord (1973) - infoh.us fileRather, “Amarcord” for Fellini means “a way of thinking that is doubled, controversial, contradictory, and basically the coexistence