Roma

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.

At the opening credits of "Roma", we are informed by our narrator and director Federico Fellini that this is not a normal film in the traditional storytelling sense, but more a perception of Rome, the way Fellini sees it. Sounds interesting? Well, it is, in that one must be so in love with their city to want to show it to the world through a series of small stories and shots of random happenings. I can relate: I have the same love for Melbourne.

We shift from a portrayal of Fellini as a schoolboy with dreams of going to Rome, to a depiction of Fellini as a young man, moving to the city he always wanted to live at. There's also scenes of early 1970s theatre attendance, the almost ritual-like eating habits of the Romans, and then we move onto a documentary-like part of the film where we get to see Fellini's camera crew struggle as they try to capture the hustle and bustle of the entrance into Rome via a major highway, filled with drifters, animals, trucks, hitch-hikers, bikes, and more.

The constant changing in scenes and stories is a bit messy, and could possibly confuse those not understanding what Fellini is trying to do with the film. At some times, I found myself questioning whether what we were being shown was a realistic dramatization of Fellini's past experiences, or some kind of farcical take on Roman culture (see the religious clothing fashion show scene!). The film is quite intriguing, taking in the sexual revolution of the era and putting it up against a city full of tradition. We are also exposed to some of the city's dirty little secrets, such as the surprising popularity of their whorehouses.

It can't be denied that there is something endearing to "Roma" that allows Fellini to get away with a film that doesn't really give you much to take home with you, other than an idea of what Rome was like for someone in 1972, and what kind of life was lead to come to those perceptions. It is somewhat self indulgent, but Fellini does put across the impression that he has something to show you, something he'd like to share with you, because he has loved it for so long, and it still fascinates him on a daily basis.

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!

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.

Some people would complain that this movie has no plot, but does life have a plot? No, of course not! And so this movies goes, from scene to scene, through memories, collages, documentary footage, hallucinations, with only one continuous character but hundreds of faces, bits of conversation, music, all flowing around just like life when you are very drunk and everything in life makes sense, no matter how absurd.

This movie contains some stunning scenes: the "ecclesiastical fashion show"; the Roman traffic jam in the rain; the deli-style whorehouse; the family style meal; the discovery and destruction of Roman ruins during the construction of the subway system. You can walk in at any moment on this movie and it doesn't matter, you don't have to follow it to enjoy it. Perhaps this is true of all Fellini movies, I'm not sure -- certainly it's true of another favorite of mine, Satyricon.