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Roma

  • 1972
  • 18A
  • 2h
ÉVALUATION IMDb
7,3/10
14 k
MA NOTE
Roma (1972)
ComédieDrameSatire

Une succession fluide mais parfois chaotique de scènes sans liens entre elles, pour la plupart inspirées de la vie du réalisateur Federico Fellini, détaillant différentes personnes et événem... Tout lireUne succession fluide mais parfois chaotique de scènes sans liens entre elles, pour la plupart inspirées de la vie du réalisateur Federico Fellini, détaillant différentes personnes et événements se produisant dans la capitale italienne.Une succession fluide mais parfois chaotique de scènes sans liens entre elles, pour la plupart inspirées de la vie du réalisateur Federico Fellini, détaillant différentes personnes et événements se produisant dans la capitale italienne.

  • Director
    • Federico Fellini
  • Writers
    • Federico Fellini
    • Bernardino Zapponi
  • Stars
    • Britta Barnes
    • Peter Gonzales Falcon
    • Fiona Florence
  • Voir l’information sur la production à IMDbPro
  • ÉVALUATION IMDb
    7,3/10
    14 k
    MA NOTE
    • Director
      • Federico Fellini
    • Writers
      • Federico Fellini
      • Bernardino Zapponi
    • Stars
      • Britta Barnes
      • Peter Gonzales Falcon
      • Fiona Florence
    • 71Commentaires d'utilisateurs
    • 48Commentaires de critiques
  • Voir l’information sur la production à IMDbPro
  • Voir l’information sur la production à IMDbPro
    • Nominé pour le prix 1 BAFTA Award
      • 3 victoires et 3 nominations au total

    Vidéos1

    Trailer
    Trailer 2:46
    Trailer

    Photos102

    Voir l’affiche
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    + 96
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    Rôles principaux99+

    Modifier
    Britta Barnes
    Peter Gonzales Falcon
    • Fellini, Age 18
    • (as Peter Gonzales)
    Fiona Florence
    • Dolores - Young Prostitute
    Pia De Doses
    • Princess Domitilla
    Marne Maitland
    Marne Maitland
    • Guide in the Catacombs
    Renato Giovannoli
    • Cardinal Ottaviani
    Elisa Mainardi
    Elisa Mainardi
    • Pharmacist's wife…
    Galliano Sbarra
    • Music Hall Compere
    Anna Magnani
    Anna Magnani
    • Anna Magnani
    Ginette Marcelle Bron
    Stefano Mayore
    • Fellini as a Child
    Vito Abbonato
    • Young policeman
    • (uncredited)
    Alfredo Adami
    • Widowers' Member at Teatrino
    • (uncredited)
    Sbarra Adami
      Ennio Antonelli
      • Toll Booth Agent
      • (uncredited)
      Salvatore Baccaro
      Salvatore Baccaro
      • Sitting Man at Trastevere
      • (uncredited)
      Bruno Bertocci
      • Musical Director
      • (uncredited)
      Bireno
        • Director
          • Federico Fellini
        • Writers
          • Federico Fellini
          • Bernardino Zapponi
        • Tous les acteurs et membres de l'équipe
        • Production, box office et plus encore chez IMDbPro

        Commentaires des utilisateurs71

        7,314.4K
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        Avis en vedette

        8paolodriussi

        Roma

        Roma explores the city of Rome from several different perspectives, giving it a mystical life of its own that hangs in the balance between its rich history and its modern identity. With no real chronology, Roma is a tapestry of bizarre scenes and familiar images that blend together into a gorgeous visual carnival. Typical of Fellini, with the carnival comes a critique--and Roma tears through the city's political and religious history, satirizing the Catholic church and various faces of Italian government from Renaissance times through Mussolini's reign and on into the 1960s. While the camera lavishes affectionately over Rome's art and architecture and is clearly a tribute to the Eternal City, most of the sets in the film are constructed, reinforcing Fellini's narrative imagination and keeping viewers caught in a perpetual contradiction between reality and fantasy, history and the present, fact and fiction.
        8lasttimeisaw

        Fellini effortlessly blurs the line between fiction and non-fiction

        Fellini's ROMA imposingly alternates between two paralleled narratives in Rome, his salad days during the WWII and the beginning of 1970s, when he is an eminent filmmaker making a new film about the city, erratically charts its local customs and folk culture to pay homage to an ancient and great city. Structurally, the film doesn't stick to a linear one, instead it disguises with a pseudo-documentary style, in fact, most of the scenes were re-constructed in Cinecittà, however, Fellini stuns audience again with his majestic undertaking which significantly blurs the line between fiction and non-fiction.

        The film is not just an ode to the city, more prominently, it is the clashes between past and present that reverberate strongly today. His young self (played by Falcon), a doe-eyed townie arrives in Rome for college, enjoys a boisterous dinner in the street trattoria with the entire neighbourhood, watches a shoddy variety show with crude spectators which would be interrupted by an air raid, flirts with the brothel for the first time; when time leaps forward to the 1970s, the flower-child generation is consuming with alienation and torpidity, a poetic episode of the underground metro construction team encounters an undiscovered catacomb, where fresh air breaches into the isolated space and ruins all its frescoes in a jiffy. A superlative conceit encapsulates the dilemma between modern civilisation and ancient heritage.

        There is no absence of Fellini-esque extravaganza, the brothels during wartime are quintessentially embellished with crazed peculiarity and vulgarity for its zeitgeist and national spirit, where sex can be simply traded as commodity without any emotional investment. The most striking one, is the flamboyant fashion-show of church accouterments organised by Princess Domitilla (De Doses) for Cardinal Ottaviani (Giovannoli), consummated in an overblown resurrection of the deceased Pope, it is sacrilege in its most diverting form, only Fellini can shape it with such grand appeal and laugh about it.

        Two notable celebrity cameos, Gore Vidal, expresses his love of the city from an expatriate slant, and more poignant one is from Anna Magnani, her final screen presence - Ciao, buonanotte! - a sounding farewell for this fiery cinema icon. The epilogue, riding with a band of motorists, visiting landmarks in the night, Fellini's ROMA breezily captures this city's breath of life, sentimental to its distinguished history, meanwhile vivacious even farcical in celebrating its ever-progressing motions, a charming knockout!
        8emuir-1

        With Fellini there is no need for a "plot".

        Fellini's films are a collection of unforgettable images, rather like reading through a photo magazine in a foreign language - you don't need to know the language to understand the pictures. The subtitles can be turned off and you can still follow one stunning vignette after another. Best of all, this film can be watched over and over because you will see something new or interpret it a different way each time.

        Rome is seen as a carnival and the people are the freaks, carneys and revellers. Rome has been a great city for over 2,000 years and was once THE city - the center of the world. One cannot imagine New York in 1,800 years time, and certainly not Washington. The film shows the evolution of that great city into a noisy, overcrowded, modern-day nightmare of chaotic traffic, circling around the ancient ruins. Life goes on. We all turn to dust, but others come to take our place.

        The most unforgettable image for me was the ecclesiastical fashion show as gaudy and vulgar as anything Ken Russell could dream up. My biggest problem was with the subtitles. Somehow I doubt that the viewers of Fellini's film choose to use vulgar American slang.
        9Galina_movie_fan

        Bravo, Maestro!

        Beautiful and colorful Fellini's Roma (1972) is a very enjoyable film with a subtle message and a lot of heart. The magnificent Eternal City, one of the most famous cities in the world is deservingly the main character of this very personal for its creator, Maestro Fellini, film that can be described as a montage of unrelated scenes.

        "Roma" consists of three parts. In the beginning, young Federico, the student in his native Rimini, learns about Rome from movies, plays, works of art, and from school history lessons. Then, as a young man, he arrives to Eternal City, strange, loud, and confusing on the outbreak of World War II. The third part takes us to the beginning of 70th when Fellini, the famous master is creating a visually unforgettable, full of life and history portrait of Rome consisting of several vignettes that take us back and forth in time and director's memory.

        I think the reason I enjoyed "Roma" is that its vignettes have so much heart and love, irony , and interest to the master's favorite city, its past and present, to its streets, palaces, and cathedrals, and to its people, their laughs, smiles, and tears. Some of the stories are amusing (variety show, first Federico's dinner in one of the outside restaurants where everybody knows everybody) while some are very emotional.

        A powerful scene takes place in an underground tunnel where subway construction workers discovered an ancient palace filled with beautiful frescoes of Ancint Rome period that later slowly fade out and disappear before our eyes taking with them a mystery of times long gone.

        I loved the fashion show of nuns and priests; I liked the sequence with the prostitutes on display – both are typical Fellini's surreal scenes, funny and sad in the same time.

        In improvement from "Satyricon," this time, Fellini, did not have any central characters presented in every vignette; and result is more satisfying: this is one of the best documentary style movies that I have seen. The main character in all its stories is Rome and that's the only character we need here.

        Gracie Federico!
        7Billiam-4

        Love Letter to Rome

        A very personal, even autobiographical, always loving portrayal of the city wildly mixes documentary and fictional elements in a seemingly chaotic order, but thoroughly entertaining and amusing.

        Histoire

        Modifier

        Le saviez-vous

        Modifier
        • Anecdotes
          Anna Magnani's final screen appearance.
        • Gaffes
          Peter Gonzales Falcon's hairstyles are all in the longish 1972 mode, even though the portions of the film in which he appears are supposed to be taking place thirty or more years earlier, at which time men's hair was cut much, much shorter, and would never be worn as it appears in this film.
        • Citations

          Narrator: This gentlemen is a Roman. A Roman from dawn to dusk. As jealous of Rome as if she were his wife. He is afraid that in my film I might present her in a bad light. He is telling me that I should show only the better side of Rome: her historical profile, her monuments - not a bunch fo homosexuals or my usual enormous whores.

        • Autres versions
          Originally released in a 128 minutes version. Later cut to 119 minutes.
        • Connexions
          Featured in Film Night: The Secret World of Federico Fellini (1972)

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        FAQ

        • How long is Fellini's Roma?Propulsé par Alexa

        Détails

        Modifier
        • Date de sortie
          • 16 mars 1972 (Italy)
        • Pays d’origine
          • Italy
          • France
        • Langues
          • Italian
          • German
          • English
          • French
          • Latin
          • Spanish
        • Aussi connu sous le nom de
          • Fellini's Roma
        • Lieux de tournage
          • Rome, Lazio, Italie
        • sociétés de production
          • Ultra Film
          • Les Productions Artistes Associés
        • Consultez plus de crédits d'entreprise sur IMDbPro

        Box-office

        Modifier
        • Brut – à l'échelle mondiale
          • 807 $ US
        Voir les informations détaillées sur le box-office sur IMDbPro

        Spécifications techniques

        Modifier
        • Durée
          2 heures
        • Mixage
          • Mono
        • Rapport de forme
          • 1.85 : 1

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