NOSTALGIA (Nostalghia) - Andrei Tarkovsky.LOS PADRES TERRIBLES (Les parents terribles) - Jea.NO PROFANAR EL SUEÑO DE LOS MUERTOS - Jorge Grau.LA LEY DE LA CALLE - Francis Ford Coppola.BAJO SOSPECHA - (Above Suspicion) - Richard Thorpe.EN KÄRLEKSHISTORIA - (Una historia de amor sueca).EL FRÍO VERANO DE 1953 - Aleksandr Proshkin.YO MATÉ A MI MADRE -J'ai tué ma mère - Xavier Dolan.SIETE HOMBRES AL AMANECER - Lewis Gilbert.PYGMALIÓN - Anthony Asquith, Leslie Howard.MISS MARPLE: EL ESPEJO ROTO - Guy Hamilton.QUADROPHENIA (The Who Films) - Franc Roddam.CUALQUIER DÍA EN CUALQUIER ESQUINA - Robert Wise.CALABRIA, MAFIA DEL SUR - Francesco Munzi.EASY RIDER (Buscando mi destino) - Dennis Hopper.EL PASTOR DE LAS COLINAS - Henry Hathaway.CANCIONES DE AMOR EN LOLITA,S CLUB - Vicente Aranda.EL COLOR DEL DINERO - Martin Scorsese (R).MUERTE DE UN CICLISTA - Juan Antonio Bardem.YOJIMBO (El mercenario) - Akira Kurosawa (R).“Fellini’s Roma” opened yesterday at the Ziegfeld Theater. I suspect that is why there are so many journeys of discovery-a short ride, a walk into the past or another world - in Fellini’s work and why “Roma,” which is almost wholly a journey of discovery, seems so richly to epitomize his career. What matters is not the face itself, but the sense of wonder that Fellini not only offers but also shares, as if that were why he makes movies in the first place. Yet there is another image, a face, a fresco at the bottom of a shallow pool of clear water, parl of an ancient Roman villa uncovered in subway excavations (this is all artifice) explored by the Fellini production crew.
It is as if Rome in the 20th century were the last great expression of the late Middle Ages.īut there is also the ancient world and its modern counterparts, and perhaps no other image in the film really matches one brief glimpse of a monumental Fellini whore standing in the midst of fallen stone heads and torsos, no more permanent or wonderful than she, in a rain-driven field outside Rome. Its capacities for pleasure and terror, for sympathy and irony, are all perfectly met in “Roma,” where, for example, a strange conceit called an Ecclesiastical Fashion Show begins with roller-skating priests (“They move faster to Paradise”) and ends with a marvelously delicate, intricate, heraldic float constructed of human skeletons or where the waiting room of any brothel (there are two, a fancy one and a poor one) seems a teeming antechamber to heaven’s portal or hell’s gate. That mind, whether you portant phenomenon of contemporary filmmaking, and “Roma” gives it a kind of freedom I have seen in no other Fellini movie. Fellini, the real Fellini, makes a brief appearance, and there are celebrity spots for Gore Vidal and Anna Magnani (a bad idea), but mostly we are in the presence of what excites the director’s imagination and his mind. It follows Fellini as a young man (played by Peter Gonzales) in his introduction to the city at the beginning of World War II, and then it continues in more or less self-contained sequences, shifting back and forth between the present and the not-so-distant past. “Fellini’s Roma” begins with the young Fellini in the north, in Rimini, first learning about Rome in school, from friends or from conversations overheard in taverns. Thus, in a sequence showing the Raccordo Anulare, a great highway skirting Rome, jammed with traffic in a stormy twilight, the subject becomes the camera crane itself, with its spotlights, its plastic rainshield flapping wildly in the wind, like some extraordinary, swooping, probing monster. Or he turns to the process of his own filmmaking, to introduce a further element of the fantastic into a landscape that might already seem fantastic enough. When he does go outside, he treats the very streets as a sound stage, with unreal lights and shadows playing over the facades. It is altogether typical of Fellini that he should film his “Roma,” his tribute to a great city, mostly indoors on a sound stage. This isn’t something you normally do at the movies, but it seems proper enough for “Fellini’s Roma.” The audience I saw it with kept interrupting the film with applause. It is also, for me, the most enjoyable Fellini in a dozen years, the most surprising, the most exuberant, the most beautiful, the most extravagantly theatrical.
#FEDERICO FELLINI ROMA FULL#
Although an appreciation of the city informs every part of the movie, Rome is not so much the subject as the occasion for a film that is not quite fiction and surely not fact, but rather the celebration of an imaginative collaboration full of love and awe, suspicion, admiration, exasperation and a measure of well-qualified respect. “Fellini’s Roma” is perhaps three-quarters Fellini and one-quarter Rome a very good proportion for a movie. The New York Times review, Published: October 16, 1972
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