La entrevista

While shooting a movie about his arrival to Cinecittà to interview a famous star, Federico Fellini is interviewed by the Japanese television. Fellini highlights and revisits the beginning of his career portrayed by the young actor Sergio Rubini in the early 40's. Then he casts new characters for his next movie, "Amerika", from Franz Kafka. Later Marcello Mastroianni performing Mandrake visits Fellini and his producers, cast and crew and together they pay a visit to Anita Ekberg in her country cottage. Last but not the least, Fellini foresees the end of the golden era to the cinema industry with the competition of the television.

The beautiful and simple "Intervista" is a nostalgic "movie of a documentary of a film-making" that envisions the increasing competition to the television in this segment and consequent end of the golden era of the cinema industry and mostly of the movie theaters. The climax of the story is certainly with the unforgettable and most famous scene of the Italian cinema with Marcello Mastroianni and Anita Ekberg in the fountain of "La Dolce Vita". I would give a penny for the thoughts of Anita and Marcello while seeing that magic moment of their youth again. My vote is eight.

Title (Brazil): "Entrevista" ("Interview")

Watching Fellini's "Intervista" is a mixed bag--sadness, frustration because it is not better... coupled with moments of brilliance. I'm not sure there is a more poignant moment in the movies than the scene of a wrinkled Marcello Mastroianni and obese Anita Ekberg wistfully watching their former youthful black & white selves in "La Dolce Vita" being projected on a makeshift screen. That scene alone is a richly-charged commentary on time, memory, regret, self-delusion, love, missed opportunity, life and death--unlike any other I have ever seen.

An elegiac look-back by the Maestro on where his films were shot (Cinecitta), Intervista has the most meta-fictional plot devices Fellini's used yet.

--It features Fellini himself, shooting a film "recounting" a location (as in "Roma") but here he is more forefront. --The rather casual stream-of-consciousness meandering of the happenings hearkens to "Amarcord," which is similar to this, with a wistful look back on the past, with fascists, bus rides, buxom women, etc. "Intervista" truly seems like an alternate draft of "Amarcord" with Fellini personally added. --The "young Fellini" going on an interview, being shot by Fellini during an interview in present day, and the playful and insistent 3rd-wall being broken every so often.

--And of course Marcello and Anita as themselves.

For fans of Fellini, this is an absolute must-see. Its reflection on his work, himself, and making films makes it one of the most playful, subversive, and autobiographical films in Fellini's late career.

(Originally a t.v. production, it displays a smaller scale that can only be attributed to the budget (too bad) and a need to make things "play" on a smaller screen. Although very similar to "A Director's Notebook", another filmic essay (that was a rough draft for "Roma"), this one is more assured and stands on its own. )

So to sum it all up, Fellini seems to be saying in this film, he lived for movies. Like a long train ride as a passenger, a lover, a player, a commentator he lived through it all and had his moments. When Marcello Mastroianni says to Anita Eckberg while watching the fountain scene from La Dolce Vita with the party at her mansion that for one moment they made magic, it seemed to sum it all up. For the actors, the film maker and for us the audience, there were moments that were magic. This film is a great movie makers collage of his memories of his life. If it had been cinematic itself it would have taken away from the message. Life at its very best can yield a few magic moments, and those lucky enough to make those moments of magic can appreciate the rest of it all that serves as the backdrop. Like the film studio around which Fellini's life revolved and which gave him all those great memories he shared with us here.

For me, it does fall short of Fellini's most classic movies like Nights of Cabiria, La Dolce Vita, 8 1/2, Amarcord and La Strada. But it is one of Fellini's better later films along with Ginger and Fred and When the Ship Sails On, and I connected more to Intervista than other Fellini's like Casanova, Juliet of the Spirits and especially Satyricon. Intervista is superbly directed by Fellini, restrained yet insightful, and the visuals are gorgeous. The music is brightly characterful and sweepingly beautiful, and the basic story is very interesting in its balance of past and present blurring, studio reality and cinematic illusion as well as being packed with numerous jewels of the screen. It is also one of Fellini's most personal in its nostalgic themes, and balance of humour, surrealism, restless action and beauty. But what makes it especially so is the poignant climax, a beautifully staged reunion between La Dolce Vita stars Marcello Mastroianni and Anita Ekberg. Overall, I knew right from the title what to expect, and I got exactly what was promised from the title and summary. Not one of the classics of Fellini, but underrated and interesting. 9/10 Bethany Cox