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IMDbPro

Roma de Fellini

Título original: Roma
  • 1972
  • 12
  • 2 h
AVALIAÇÃO DA IMDb
7,3/10
14 mil
SUA AVALIAÇÃO
Roma de Fellini (1972)
SatireComedyDrama

Uma procissão de cenas fluidas, desconexas e às vezes caóticas detalhando pessoas e eventos da vida na capital italiana, em sua maioria, baseadas na vida do diretor Federico Fellini.Uma procissão de cenas fluidas, desconexas e às vezes caóticas detalhando pessoas e eventos da vida na capital italiana, em sua maioria, baseadas na vida do diretor Federico Fellini.Uma procissão de cenas fluidas, desconexas e às vezes caóticas detalhando pessoas e eventos da vida na capital italiana, em sua maioria, baseadas na vida do diretor Federico Fellini.

  • Direção
    • Federico Fellini
  • Roteiristas
    • Federico Fellini
    • Bernardino Zapponi
  • Artistas
    • Britta Barnes
    • Peter Gonzales Falcon
    • Fiona Florence
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,3/10
    14 mil
    SUA AVALIAÇÃO
    • Direção
      • Federico Fellini
    • Roteiristas
      • Federico Fellini
      • Bernardino Zapponi
    • Artistas
      • Britta Barnes
      • Peter Gonzales Falcon
      • Fiona Florence
    • 71Avaliações de usuários
    • 48Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Indicado para 1 prêmio BAFTA
      • 3 vitórias e 3 indicações no total

    Vídeos1

    Trailer
    Trailer 2:46
    Trailer

    Fotos102

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    Elenco principal99+

    Editar
    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
    • (não creditado)
    Alfredo Adami
    • Widowers' Member at Teatrino
    • (não creditado)
    Sbarra Adami
      Ennio Antonelli
      • Toll Booth Agent
      • (não creditado)
      Salvatore Baccaro
      Salvatore Baccaro
      • Sitting Man at Trastevere
      • (não creditado)
      Bruno Bertocci
      • Musical Director
      • (não creditado)
      Bireno
        • Direção
          • Federico Fellini
        • Roteiristas
          • Federico Fellini
          • Bernardino Zapponi
        • Elenco e equipe completos
        • Produção, bilheteria e muito mais no IMDbPro

        Avaliações de usuários71

        7,314.4K
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        Avaliações em destaque

        9thinkMovies

        A stroke of genius

        I have come to believe that Fellini is a genius (past tense would be irrelevant here). More so since as an American who studied film in Britain came to live my life an hour's drive from his birthplace when I was 49, 14 years ago. And discovered Italy. Fellini expressed Italy in the most accurate way imaginable. The so-called "Fellini crowd" does exist, everywhere here. Fellini lovingly satirized everything pitiful and shameful and laughable he saw around him.

        I don't know whether I would call Roma a masterpiece, yet it is the work of genius. Fellini growing up under Fascism in Rimini, near the river (more of a stream really) Rubicone which Caesar crossed with his legion marching on Rome. Later, Fellini as a young man arrives in Rome at the outbreak of WWII. And Finally, Fellini in the early 1970ies introduces us to Rome. There is a plot! A very clear one. What's wrong with those who say the film consists of unconnected vignettes? But you have to live here for at least a decade or more to find the plot in Fellini's Roma.

        Chaos is an Ancient Greek word, but it describes Italy to a "t". A chaos organized only in the imagination of arrogance of fascism and of the church, and of everyday ignorance.

        "May I ask you a question" Fellini asks Anna Magnani attempting to interview her around midnight at her Roman doorstep. "No, I don't trust you, Federi, go to sleep" responds the famous actress. Should we trust him to tell us the truth about Rome, the Church, fascism and ignorance?
        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.
        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.
        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!
        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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        Enredo

        Editar

        Você sabia?

        Editar
        • Curiosidades
          Anna Magnani's final screen appearance.
        • Erros de gravação
          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.
        • Citações

          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.

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

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        Perguntas frequentes19

        • How long is Fellini's Roma?Fornecido pela Alexa

        Detalhes

        Editar
        • Data de lançamento
          • 16 de março de 1972 (Itália)
        • Países de origem
          • Itália
          • França
        • Idiomas
          • Italiano
          • Alemão
          • Inglês
          • Francês
          • Latim
          • Espanhol
        • Também conhecido como
          • Roma
        • Locações de filme
          • Roma, Lazio, Itália
        • Empresas de produção
          • Ultra Film
          • Les Productions Artistes Associés
        • Consulte mais créditos da empresa na IMDbPro

        Bilheteria

        Editar
        • Faturamento bruto mundial
          • US$ 807
        Veja informações detalhadas da bilheteria no IMDbPro

        Especificações técnicas

        Editar
        • Tempo de duração
          2 horas
        • Mixagem de som
          • Mono
        • Proporção
          • 1.85 : 1

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