Amarcord

Although on one level this is indeed a warm reminiscence of youth, it would be a mistake to think that's all it is. In fact there is sharp satire at the heart of the film, indicated by the punning title - "Amarcord" is the local dialect for "I remember" (used in preference to the Italian "Mi ricordo") while "Amaro" is Italian for "bitter".

There is considerable brutality among the laughs - a man is maltreated by the Fascists, a small boy tries to kill his infant brother with a rock in an aside the casual viewer might miss.

Rimini stands in for the whole of Italy as Fellini tries to get to grips with what factors in the national psyche (Catholicism, the education system, past imperial glory, sexual frustration) led Italy to invent and wholeheartedly embrace fascism.

These are some of Fellini's own comments on the film:-

"The province of Amarcord is one in which we are all recognizable, the director first of all, in the ignorance which confounded us. A great ignorance and a great confusion. Not that I wish to minimize the economic and social causes of fascism. I only wish to say that today what is still most interesting is the psychological, emotional manner of being a fascist. What is this manner? It is a sort of blockage, an arrested development during the phase of adolescence… That is, this remaining children for eternity, this leaving responsibilities for others, this living with the comforting sensation that there is someone who thinks for you (and at one time it's mother, then it's father, then it's the mayor, another time Il Duce, another time the Madonna, another time the Bishop, in short other people): and in the meanwhile you have this limited, time-wasting freedom which permits you only to cultivate absurd dreams – the dream of the American cinema, or the Oriental dream concerning women; in conclusion, the same old, monstrous, out-of-date myths that even today seem to me to form the most important conditioning of the average Italian."

One can only speculate on what Fellini would have made of Berlusconi.

Apparently the film as we see it was originally planned as part of a larger-scale project in which a man in the present day retreats into a nostalgic reminiscence of his adolescence. For whatever reason that framing device was abandoned and what we have is just the reminiscence.

Fellini described "Amarcord" as "a minor planet... not a masterpiece" but for all that it enjoyed considerable success and remains wonderful to behold. On the downside it could be considered the seed of the later plague of execrable 'adolescence' movies such as "Porky's" and "Road Trip".

Still, you can't blame Fellini for that.

Federico Fellini's "Amardord" is a series of sketches about his youth in a seaside town Rimini in the 1930s. In this regard it reminds another favorite film of mine, "Fellini's Roma". After repeat viewing, I can understand why many viewers may not like Fellini, especially his so called "later films" -"Amarcord" may seem too crowded, too loud, too vulgar, too bawdy, and too self-indulgent. It is all true, it is. But so is life - loud but tender, vulgar but touching, self-indulgent but full of humor, love and compassion to the film's eccentric characters. It's been said a lot about memorable scenes and images in "Amarcord": yes, the famous peacock that spreads its plumage on the snow, a magnificent ocean liner that is been greeted by the townspeople, a local tobacconist - a woman of such size and proportions that it could be simply dangerous for the teenage boys to try and make their dreams about her come true. I love "Amarcord" - always have - perhaps, Fellini played all the right notes for me or more likely, Nino Rota wrote his best musical score for the film which could be the best score ever. My favorite image in the film Gradisca's (local beautician) walk accompanied by Rota's music. What is it in the way Italian women walk, the way their hips sway? Monica Belucci in "Malena", Sofia Lauren in "Marriage Italian Style"? And Magali Noël as object of every man's in Rimini desire-Gradisca ("Help Yourself").

Wonderful film - by the power of his magic, by the light of his memory, the great master saved the town where he was young and happy. We can visit it as often as we'd like and it won't go away and disappear - Fellini's Rimini is captured forever.

9.5/10.

I never thought of this movie as carnivalesque, but you could argue about that. I like to think it is surrealistic in the way that your memory can distort history and all that you once dreamed of or was scared of. Those memories evolve into caricatures of persons, their behaviour and caricatures of situations. We not only see Federico's memories, but also the supposed memories of people once surrounding him.

Also this is said to be Fellini's most accessible film. Well, I was 15 when I saw it first, and it is still one of my favorites. About 10 Fellini-films later I read that this won the academy-award for best foreign picture, which I never expected, but think is quite rightly. The many surrealistic scenes stick to the mind for decades. Hilarious, tragic, oppressive (upcoming fascism: so most of it must take place just before ww2), nostalgic, poetic: there's something for everyone (and every age) to appeal to, while Fellini makes no compromises. If this was higher-paced, you wouldn't have time to appreciate the details, the photography and the music (Nino Rota). Don't look for a plot here.

The cinematography (Giuseppe Rotunno) has comparable feel with some films by Mike Nichols (Catch-22 (1970), Carnal Knowledge (1971), Graduate (1967)). Rotunno worked with Mike Nichols on three films: Carnal Knowledge, Regarding Henry and Wolf. And with Fellini on 9 films (e.g. City of women (1980)). I don't know if this is relevant, but Fellini is said to have had a conversation with Mike Nichols during the production of Catch-22. Otherwise I can't think of many films that are comparable with this fabulous collage of events happening apparently in spring, summer, autumn, winter and ends in spring to conclude some cycle (generation ?) accompanied by beautiful distinctive music. Why o why can't we vote 11 :(

This film was first recommended to me by a high school friend who typically enjoys a different kind of film than I. He counts Reservoir Dogs and Mean Streets among his favorites; I am partial to Notorious and Annie Hall. But for his sake, I watched Amarcord, and in the past years have found myself returning to it time and again. I haven't seen any other movies by Mr. Fellini, so I can judge this film only against itself. By such standards, it is a masterpiece. Never have I seen Italy portrayed as lovingly, nor the spectrum of childhood emotions - happiness, love, frustration - represented as frankly. The images are spellbinding - sunlight and fog and great dark seas. Yesterdays are perfect, it would seem, and love exists in what we can remember. So my friend got it right with this one. Amarcord is a kind of magic only the very best in cinema inspire within us. It's the magic that makes us remember.

Fellini gives us a series of memories, fantasies, and dreams in the vignettes which make up his semi-autobiographical film 'Amarcord' ('I Remember'). The message which comes through is loving, and about the gaiety of life, embracing its madcap characters and moments - moments which will someday live in our memories, hazy though they grow, as little diamonds of light. I loved the scenes satirizing the Fascists and the Catholic Church, and they're all the more powerful in this context, where they are reduced in significance, and just another zany thing Italians dealt with (or deal with) in life. The film doesn't strike any major philosophical chords, briefly coming close as men peer up into the heavens, but the lines uttered as a poem by a construction worker are powerful ("My grandfather made bricks / My father made bricks / I make bricks, too / but where's my house?"). I may be in the minority here, but the film didn't strike me as particularly beautiful, though it was a pleasure to see Magali Noël (Rififi, La Dolce Vita, and many others). It held my interest, but lacked a big punch, even in its sentimentality, though I was always pulling for it, and loved the many references to Hollywood actors from the 1930's. Unfortunately, there is not enough depth here to consider it a great film, and Fellini too often indulged in caricatures and juvenile humor. Net, a mixed bag.