Ginger et Fred

Ginger e Fred (1986) is one of the few movies (4 in all) Fellini made in the '80s,and the ripest fruit of his late career,the acme of his narrative cinema.(In the 7th decade of the 20th century,Fellini also made relatively few films:only 4,and also 2 sketches.)Is "Ginger ..." Fellini's best movie?I don't know that;but it certainly is the one that I cherish most.Exquisite, unobjectionable, unparalleled cinema? Surely!Within the Fellini criteria,this is a rather simple movie,deprived of experiments,etc.;it is,of course,of no avail to be "told",but not because it lacks a "story",only that it is a simple,uneventful one.A sudden return to what we may call a perennial realism,of a perfect incision and a welcome sobriety of means,a huge appetite for giving an objective and transitive creation (though the resources of grotesque,tenderness,comic,Oneiric ,a detached Inebriety,satire,effects of strange,caricatures,etc.,are also used).It is also a return to a narrative form,and a very comic movie:in this film,Fellini has a content to be told,to be molded and put in an epic shape.The weird people could not miss,on the contrary;but the movie has an obvious realistic aim,in a comical,satirical and tender key.As shape,it is not an essay,but a realist narration,and each thing,though caricatured,is plausible.I would say that Fellini has,in "Ginger ...",so firm a notion on what he wants to say,that he can afford himself to be playful.He can afford it,as the main aim of his movie is so firmly handled.He had some things to say about love,life,old age,career,art,TV,contemporary life,etc.,some very straight things.For this movie,he chosen to deepen in the contemporary world;moreover,here he has not anymore that sense of tearing,of speechless pained,exasperated sensibility that gave a very special note to his '50s movies.A shivering,a feverishness.Mrs. Masina,in her room,looking outside:she sees a Martian landscape.

Throughout his 50 years career,Fellini made some TV creations (such as The Clowns and A Director's Notebook).In "Ginger ...",he expresses all his disgust for that institution,in a very acid charge.Is Fellini ever "non-judgmental", as some would like to believe?Never.

Mastroianni,with his whistles,and licentious jokes,and bad language,and courtesy.Fellini always allowed his actors to be great,to do THEIR creations,he never used them as mere puppets.Must I praise here Mastroianni's perfect mastery of his profession,his exquisite and tasty professionalism,in the noblest sense of this banal word?Fellini was a too generous, too intelligent director,not to let,and not to encourage Mastroianni be himself and give his best.Hence ,Mastroianni's "Pippo" is a whole chapter in the acting's history.(Hitchcock was not content with Clift,and I don't think he was with Newman;Antonioni was not content with Harris.Well,Fellini seemed to like the actors with strong personalities:he had in his movies Mastroianni,Anthony Quinn, Basehart, Broderick Crawford,Sordi,Terence Stamp,Anouk Aimée,François Périer, etc.,etc.!He never disliked or avoided to work with the great actors;this is a sign of his abundant and good-humored endowment,able to engross others' aptitude for creation .With Fellini,the actor's dignity is safe,and restored,the actor is allowed to display his endowment and work,his creation is sustained by the director.)In "Ginger ...",as in some other shows he did as an oldster,Mastroianni finds that exactness,that roundness,that plenitude,that sureness,that pleasantness,that made him maybe the most sure-footed actor.In his youth and maturity,Mastroianni's force came from his dexterity,intrepidity,etc.;now,there is this sheer artistic robustness.

Watch Mastroianni and Mrs. Masina,to see for yourself how far,how deep the actors' art can go.

Fellini takes a stab at television in this wonderful satire. It's Christmas, and an Italian "Ed Sullivan" type show is having a special, by re-uniting acts that were featured years ago. There is a hilarious (for those in the know) swipe at Woody Allen, who has been parodying Fellini for years. It's a bit deliberately paced, but the chemistry between the stars makes it worthwhile.

This wasn't a bad film, though those without previous knowledge of Fellini's films may not like it as much. Giuletta Masina and Marcello Mastroani give their usual great performances. I actually thought Marcello gave one of his better performances here, in that he displayed a great comedic timing. I am mostly familiar with Fellini's pre-1970 films so I was not sure how a film made in the 1980's would do (given how much cinema had changed from the 50's/60's to the 80's), but he still delivers an enjoyable film, thanks in large part to good acting by the two leads. I enjoyed the satirical attack on television and the modern era (advertisting, etc.), which I happen to strongly agree with. The TV show scene near the end contains your typical Fellini "magic" and aesthetics, so I enjoyed that as well. This is by no means comparable to Fellini's masterpieces, but is still a well-made and enjoyable film, and more accessible than some of his more outrageous stuff he's made in past years. 7/10.

Fellini is perhaps the only director whose movies could never be adapted into books. The Maestro has invented a purely cinematic language to speak his own heart and tell his stories no matter how disjointed and anarchic they were for the discoverer, I guess his unique style would simply suffocate inside the restrictive format of words. Sure, drawings can give glimpses on his extravagant visions but still too static to convey the sense of fun and buoyancy he injects in his material. They could make interesting comic strips though but would they work the same without Nino Rota or Nicola Piavani's music?

Fellini movies are made for either the stage or the screen, their delights are essentially visual and musical, their enjoyment works on a sensitive and emotional rather than intellectual level. This is the old magic formula that made glorious days of Hollywood and Broadway, providing the kind of entertainment books and radio couldn't, that era immortalized by Chaplin, Laurel and Hardy, Walt Disney cartoons and of course musicals, and one of the most emblematic moments of that long gone period is Fred Astaire and Ginger Rogers dancing "Cheek to Cheek". That heavenly scene immortalized by countless homages, notably from "The Green Mile" and Woody Allen's "Purple Rose of Cairo".

Fellini's "Ginger and Fred" is impregnated with a similar dose of nostalgia although we never see the legends, we don't need their last names, we don't need the lyrics to remember "Top Hat", we don't need Giuletta Masina to look like Ginger Rogers and she doesn't even pretend to be a lookalike while Marcello Mastroianni isn't exactly the thin and slender Astaire type. Yet the two Hollywood stars bright through the sole passion of Amelia (Masina) and Pippo (Mastroianni). Listen to her describing the choreography or her days of glory during interviews or Pippo, in one of the film's most inspired scenes, explaining the origins of tap dancing. Their listeners aren't always captivated but we know they're not talking to them but to us movie lovers fascinated by these Last Mohicans of Hollywood Golden Age... Italian style.

The homage itself is pure Fellini style, any lesser director would have made this love letter to Hollywood a sort of solemn prosternation... watching "Ginger and Fred" made me realize how willing even good movies like "The Artist" or "La La Land" were to recreate the magic at the expense of their personal touch, sinning by moments of sentimental manipulation. "Ginger and Fred" is nostalgic all right, but it's exuberant and transgressive like any Fellini film. The director turns the couple into decoy protagonists in a crazy universe, an avalanche of debauchery that makes them totally outdated. Behind the nostalgia, there's a commentary on how far the art of entertainment went, becoming as decadent as his portrayal of Rome like in "Satyricon". Good directors flash the lost innocence before our eyes, Fellini focuses on the much groovier hell.

What is the place of a tap dancing couple in a world where TV and pop electronic music waters its audience with a keleidoscope of sex, games, ads and random images designed to ignite masses lowest instincts? When Amelia is approached by an unimpressed journalist and driven to the hotel before the studio representation, she is surrounded by so many characters her frailty is enhanced: has-been artists, lookalikes, impersonators, dwarves... what have they in common? They're just weird, bizarre-looking or entertaining in a non-traditional way. It's eerie how Fellini prophecized the reality shows and their exploitations of wannabe celebrities and pseudo artists treated like freaks. There's a scene where Amelia is asked whether she's married to Pippo, if she was, that would have interested the audience even more. There's no place anymore for genuine interest, people want to be shocked, dazzled, or surprised, it's a giant leap made in five decades.

Having a foot in each world and being a true ringmaster, Fellini reconciles these two schools of entertainment, allowing within that orgy of telegenic bizarreness a few breaks to Amelia and Pippo, I didn't mind these crazy vignettes as they're part of the Fellinian experience but sometimes they can be too exhausting and so I enjoyed these brief moments of truce where Amelia and Pippo shared a few memories. I loved their complicity all through their film and one of the masterstrokes was the blackout before the act, so we could breath a little and listen to them commenting the mess surrounding them. It's interesting to see that they're lucid about their status, but they are willing to give the audience what they want, for the sake of their art. For all its anarchical structure, carried by that catchy soundtrack, Fellini can't resist the temptation of sentimentalism and that's a wise choice, as he allows his two fetish actors to have a substantial role at the dawn of their career, he even recast Franco Fabrizi as the host show, he who starred in his early neo-realist films.

In its "final show before the curtain closes" undertones, "Ginger and Fred" reminded me of Chaplin's "Limelight". The film has its slower moments but it's surprisingly grabbing and never dull or boring, Amelia and Pippo gravitate around these bizarre figures of entertainments like a Greek chorus we can relate to. At the end, they become Ginger and Fred in our hearts. And the film ends as it started, but at night in a deserted train station, with the two actors paying the kind of goodbyes that resonate like poignant farewells. But at long as they saw each other, that mess was all worth it, and since there's no Fellini film without the "film in the film" element, at least Il Dottore gratified us with a last reunion with his fetish actors: Masina and Mastroianni ... if only for that, "Ginger and Fred" deserves to be watched and appreciated.

Before I saw this movie, I had heard how it was considered one of Federico Fellini's more accessible movies. If this was meant of Fellini's films from the sixties on, I can agree with that. The film is basically two things: one big jab at television and giving Giuletta Masina the opportunity to show everyone how adorable she is (she succeeds). The TV angle, however scathing it may have been in 1986; today with the plethora of reality TV shows, the film just seems prescient. The film's very basic storyline is Masina reuniting with old dance partner Marcello Mastroianni for a TV show. Filling in the rest of the movie (and sometimes obscuring the main story) are the many oddball characters scheduled for the TV show. As anyone familiar with Fellini knows, he loves outrageous people. In this film, for example, there are transsexuals, psychics, a midget troupe and a cow with many teats. The first part of the movie, at the hotel, is a little too much because everything is thrown at the viewer at once. The characters, television, Ginger and Fred, all vie for your attention and it can be overwhelming. Once at the studio, the film kind of settles down and one is able to enjoy the film and it's characters. Not one of Fellini's best but also not only for fanatics of Fellini either.