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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

        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.
        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!
        7mattreviews

        A portrayal of a love for a city

        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.
        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!

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        Enredo

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        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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