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Fellini Roma

Titre original : Roma
  • 1972
  • Tous publics
  • 2h
NOTE IMDb
7,3/10
14 k
MA NOTE
Fellini Roma (1972)
SatireComedyDrama

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.

  • Réalisation
    • Federico Fellini
  • Scénario
    • Federico Fellini
    • Bernardino Zapponi
  • Casting principal
    • Britta Barnes
    • Peter Gonzales Falcon
    • Fiona Florence
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,3/10
    14 k
    MA NOTE
    • Réalisation
      • Federico Fellini
    • Scénario
      • Federico Fellini
      • Bernardino Zapponi
    • Casting principal
      • Britta Barnes
      • Peter Gonzales Falcon
      • Fiona Florence
    • 71avis d'utilisateurs
    • 48avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Nomination aux 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
    Voir l'affiche

    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
    • (non crédité)
    Alfredo Adami
    • Widowers' Member at Teatrino
    • (non crédité)
    Sbarra Adami
      Ennio Antonelli
      • Toll Booth Agent
      • (non crédité)
      Salvatore Baccaro
      Salvatore Baccaro
      • Sitting Man at Trastevere
      • (non crédité)
      Bruno Bertocci
      • Musical Director
      • (non crédité)
      Bireno
        • Réalisation
          • Federico Fellini
        • Scénario
          • Federico Fellini
          • Bernardino Zapponi
        • Toute la distribution et toute l’équipe technique
        • Production, box office et plus encore chez IMDbPro

        Avis des utilisateurs71

        7,314.4K
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        Avis à la une

        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!
        harry-76

        Forever Fellini

        Opinions may vary regarding the work of this artist.

        One thing is certain: the man had a genius for making any person, place or thing a "Fellini subject": no matter where his camera pointed, what emerged on celluloid was a "Fellini image."

        In "Roma" the shot could be a routine traffic jam; with Fellini not an ordinary one. Along the standard highway appears darkly hooded figures--one holding a silhouetted parasol--while a bonfire casually smolders, emitting clouds of black smoke.

        It's no longer just a normal freeway but a Felliniesque creation mounted on the surreal palette of a genuine stylist.

        Contemplate the quality of his characteristically rapid-paced dialogue, and you'll discover it's less communicative discourse and more self-indulgent chatter.

        All the Fellini trademarks are there: big breasted women, clownlike characters, rude Rabelaisian remarks, all to brassy street band accompaniments tooted on worn, cheap instruments.

        In some ways "Roma" picks up where "Satyricon" leaves off, minus main characters. It's all an extremely personal vision--and not a little bit weird, rather like temporarily inhabiting the domain of a slightly warped mentality.

        Recalling my own visit to the Eternal City, I don't recall experiencing anything like this purgatorian collage. Then again, I suppose what we see is pretty much the result of who we are.

        Made just a couple of years after Antonioni filmed his "Zabriskie Point" in Los Angeles, Fellini never "did the foreign thing," opting to remain working on his home terrain.

        For Fellini fans and others with an interest in film history, "Roma" occupies a valid place for observation, notation and appreciation.
        9Tgrain

        A non-traditional film which exceeds all expectations.

        ROMA is not the kind of film you may want to watch if you are in the mood for a made for TV movie, but perfect if you want to get away from one. The ultimate cinematic escape, it is a collection of interesting and arresting scenes and images from Rome throughout history. It does not concentrate on history per say, but excerpts Italian society and it's lifestyles from the conformity of Mussolini's time to the hippy-dippy days - in a non-narrative, non-documentary way. Some things change, others stay the same. Don't expect to find much of a plot, but rather moments of great amusement with character and sometimes very involving images. ROMA doesn't insult it's viewers with it's unconventional liberties, and that alone makes it a worthwhile trip to take - even if only once.
        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.

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        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.

        • Versions alternatives
          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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        FAQ19

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

        Détails

        Modifier
        • Date de sortie
          • 17 mai 1972 (France)
        • Pays d’origine
          • Italie
          • France
        • Langues
          • Italien
          • Allemand
          • Anglais
          • Français
          • Latin
          • Espagnol
        • Aussi connu sous le nom de
          • Roma
        • Lieux de tournage
          • Rome, Lazio, Italie
        • Sociétés de production
          • Ultra Film
          • Les Productions Artistes Associés
        • Voir plus de crédits d'entreprise sur IMDbPro

        Box-office

        Modifier
        • Montant brut mondial
          • 807 $US
        Voir les infos détaillées du box-office sur IMDbPro

        Spécifications techniques

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

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