# 7 I guess its time to tell new people about this dude ;)
Federico Fellini, Cavaliere di Gran Croce (January 20, 1920 – October 31, 1993) was an Italian film director. He is considered to have been one of the most influential and widely revered film-makers of the 20th century.
Fellini's father Urbano (1894-1956) was a traveling salesman and wholesale vendor. In August 1918 he married Ida Barbiani (1896-1984) in a civil ceremony (with the religious celebration the following January). After Federico's birth in 1920, two more children arrived: Riccardo (1921-1991) and Maria Maddalena (m. Fabbri; 1929-2002). Urbano Fellini was originally from Gambettola, where the young Federico vacationed at his grandparents' house for several years.
Born and raised in Rimini, his childhood experiences would later play an important part in many of his films, in particular, I vitelloni (1953), 8½ (1963) and Amarcord (1973). It is misleading, however, to assume that all his films contain autobiographical anecdotes and fantasies. Intimate friends such as screenwriters Tullio Pinelli and Bernardino Zapponi, cinematographer Giuseppe Rotunno and set designer Dante Ferretti have insisted on how Fellini invented his own memories simply for the pleasure of narrating them in his films.
During Mussolini's Fascist regime, Fellini and his brother, Riccardo, were part of the Avanguardista, the fascist youth group that every adolescent Italian male was obliged to join. After moving to Rome in the spring of 1939, Fellini landed a well-paid job writing articles for the hugely popular satirical weekly, Marc’Aurelio. It was at this time that he interviewed Aldo Fabrizi, inaugurating a friendship that would lead to professional collaboration and radio work. Of conscription age since 1939, Fellini had nonetheless managed to avoid being drafted through a suite of clever ruses. Commenting on this turbulent epoch, Fellini biographer Tullio Kezich notes that although “the Marc’Aurelio period was happy, the happiness masked a phase of shameless political apathy. Many living under the Mussolini dictatorship during its last years experienced the schizophrenic tug between official loyalty to the regime and the intrinsic freedom of humor.”
In 1942, Fellini met Giulietta Masina, and a year later, on October 30, 1943, they were married. Thus began one of the great creative partnerships in world cinema. Several months after their marriage, Masina fell down the stairs and suffered a miscarriage. Then, on March 22, 1945, Pierfederico (nicknamed Federichino) was born but died a mere month later on April 24. These family tragedies affected the couple in profound ways, particularly in the conception of La strada (1954).
The Fascist regime fell on July 25, 1943 and the Allies liberated Rome on June 4, 1944. During that euphoric summer, Fellini set up the Funny-Face Shop with his friend De Seta, drawing caricatures of Allied soldiers for money. It was here that Roberto Rossellini came to see Fellini about his project, titled Rome, Open City (1945). Rossellini wanted the young man to introduce him to Aldo Fabrizi and collaborate on the script (with Suso Cecchi D'Amato, Piero Tellini, and Alberto Lattuada). Fellini accepted, contributing gags and dialogue.
In 1993 Fellini received an Oscar "in recognition of his cinematic accomplishments that have thrilled and entertained audiences worldwide." That same year, he died of a heart attack in Rome at the age of 73, a day after his fiftieth wedding anniversary on October 31st. His wife, Giulietta Masina, died six months later of lung cancer on March 23 1994. Fellini, Giulietta Masina and their son Pierfederico are buried in the same bronze tomb sculpted by Arnaldo Pomodoro. Shaped like a ship's prow in the water, the tomb is located at the main entrance to the Cemetery of Rimini.
The Federico Fellini International Airport in Rimini is named in his honor.
Variety Lights (1950), Fellini's first film, was co-directed with the more experienced director, Alberto Lattuada. The film is a charming backstage comedy set amongst the world of small-time traveling performers, a world Fellini knew well after working on Roberto Rossellini's Paisà in 1946. While the film shoot was an exhilarating one for the 30-year-old Fellini, its release to poor reviews and limited distribution proved a disaster for all concerned. The production company went bankrupt, leaving both Fellini and Lattuada with debts to pay for over a decade.
Fellini's first solo-directed film was The White Sheik (1952). Starring Alberto Sordi, the film is a revised version of a treatment first written by Michelangelo Antonioni in 1949 and based on the fotoromanzi, the very popular photographed cartoon strip romance magazines published in Italy at the time. Producer Carlo Ponti had commissioned Fellini and Tullio Pinelli to develop the treatment. Finding the finished screenplay perplexing, Antonioni gave it to Alberto Lattuada who also turned it down. Fellini then decided to take the plunge and direct the film himself.
Working on the new script with Fellini and Pinelli was playwright Ennio Flaiano (who also co-wrote Variety Lights with Fellini and Lattuada). Together, they crafted a now classic tale of a newly-wed couple whose outward appearance of respectability is demolished by the fantasies of the immature wife (convincingly portrayed by Brunella Bovo). For the first time, Fellini and his composer, Nino Rota, worked together on the film's score. Having met in Rome in 1945, their collaboration continued successfully until Rota's death during the making of the ill-fated City of Women in 1980. This exceptional artistic relationship has been memorably described as one of "empathy, irrationality and magic."
A major discovery for Fellini after his Italian neorealism period (1950-1959) was the work of Carl Jung, whom he first read in 1961 under the supervision of noted Jungian psychoanalyst, Ernst Bernhard. Jung's seminal ideas on the anima and the animus, the role of archetypes and the collective unconscious were vigorously explored in such classics as 8½ (1963), Juliet of the Spirits (1965), Satyricon (1969), Casanova (1976), and City of Women (1980).
Fellini's films were widely acclaimed, and four of his films won the Best Foreign Film Oscar: La strada (1954) ; Le Notti di Cabiria (1957) ; 8½ (1963) and Amarcord (1973). La dolce vita (1960) was also awarded the Palme d'Or at Festival de Cannes and is considered a quintessential film of the 1960's cinema. La dolce vita also coined the term paparazzi to the language. The term derives from Marcello Rubini's (played by Marcello Mastroianni) photographer friend Paparazzo. [8] In 1990, Fellini won the prestigious Praemium Imperiale awarded by the Japan Art Association. Considered as the equivalent of the Nobel Prize, the award covers five disciplines: Painting, Sculpture, Architecture, Music, and Theatre/Film. Past winners include Akira Kurosawa, David Hockney, Pina Bausch, and Maurice Béjart.
Jeg bliver altid chokeret over filmz-brugere manglende kendskab til film produceret før 90'erne. Hvis man synes der bliver lavet for få radikale og eksperimenterende ting i dag, skulle man da bare gå 40 år tilbage og begynde der. Det er der alle mine store filmoplevelser kommer fra. "La Strada", "8 1/2" og "Casanova" er min absolutte favoritter. Den eneste film jeg ikke rigtigt synes om af Fellini, er "Satyricon". Ellers hører han blandt de allerstørste - hvis ikke den største. Han har i sin karriere vist at han mestrede alt fra den klassiske fortælling til avant-garde. Overvurderet kan jeg langtfra forstå han skulle være - tværtimod. De mest kompromisløøse af hans film blev jo svinet til, og først anerkendt langt langt senere. Håber at flere af jer derude vil få øjnene op for ham, eller i det mindste give ham en chance.
Jeg stemte Satyricon...Satyricon's roadmovie med Pantera er fed og underholdende hele vejen igennem! Jeg mente bare, at den hed "Roadkill Extravaganza", men hey...
Og jeg som troede, at der var mange filmsnobber her på Filmz!
Okay, joke...min stemme ville nok være gået til "Quien coño es ese tipo de Fellini?"
Min kritik er 100 procent berettiget i enhver redaktionel sammenhæng, og hvis du ikke kan se problemet, er du i benægtelse.
Jeg holder med Doom i #12, Han virker dødsyg ham Fellini.
#13 - Jeg tror sgu også, at de fleste har et udemærket kendskab, til film længere tilbage end 90'erne. For mit vedkommende gælder det bare, at jeg synes skuespillet er så overspillet og karikeret i film fra 60'erne og bagud, at jeg får udslæt af at se det. Men det kan da godt være, at man snakkede og agerede på den der stive måde, dengang tilbage i tiden ;)
So, at last we meet for the first time for the last time.
Well, der er nok en del der stemmer, udover de faste brugere, der skriver på boardet, tallet af stemmer afslører jo dette. :)
Disse brugere følger ganske sikkert heller ikke diskussionerne - når det så er sagt, kan jeg da sagtens afsløre at jeg heller aldrig har set noget af Fellini, dog kender jeg da hans navn og har set titlerne før, men altså, der er jo stadig omkring 100 års filmhistorie at tage af, så det kan vel ikke være overraskende, at selv meget filminteresserede folk, inkl. dem der ser film fra før 1990, ganske enkelt ikke har nået at se film fra en pågældende instruktør også selvom det måske er en person der fylder meget i filmhistorien.
Har kun set La Strada, men Amacord og især 8½ og La Dolce Vita er på must-see listen.
Personligt kan jeg godt lide gamle film, men her er det mest de amerikanske film jeg har set + det løse rundt omkring(lidt Kurosawa, lidt Bergman osv.)
#11 filmz-Crystalstar1200 16 år siden
Federico Fellini, Cavaliere di Gran Croce (January 20, 1920 – October 31, 1993) was an Italian film director. He is considered to have been one of the most influential and widely revered film-makers of the 20th century.
Fellini's father Urbano (1894-1956) was a traveling salesman and wholesale vendor. In August 1918 he married Ida Barbiani (1896-1984) in a civil ceremony (with the religious celebration the following January). After Federico's birth in 1920, two more children arrived: Riccardo (1921-1991) and Maria Maddalena (m. Fabbri; 1929-2002). Urbano Fellini was originally from Gambettola, where the young Federico vacationed at his grandparents' house for several years.
Born and raised in Rimini, his childhood experiences would later play an important part in many of his films, in particular, I vitelloni (1953), 8½ (1963) and Amarcord (1973). It is misleading, however, to assume that all his films contain autobiographical anecdotes and fantasies. Intimate friends such as screenwriters Tullio Pinelli and Bernardino Zapponi, cinematographer Giuseppe Rotunno and set designer Dante Ferretti have insisted on how Fellini invented his own memories simply for the pleasure of narrating them in his films.
During Mussolini's Fascist regime, Fellini and his brother, Riccardo, were part of the Avanguardista, the fascist youth group that every adolescent Italian male was obliged to join. After moving to Rome in the spring of 1939, Fellini landed a well-paid job writing articles for the hugely popular satirical weekly, Marc’Aurelio. It was at this time that he interviewed Aldo Fabrizi, inaugurating a friendship that would lead to professional collaboration and radio work. Of conscription age since 1939, Fellini had nonetheless managed to avoid being drafted through a suite of clever ruses. Commenting on this turbulent epoch, Fellini biographer Tullio Kezich notes that although “the Marc’Aurelio period was happy, the happiness masked a phase of shameless political apathy. Many living under the Mussolini dictatorship during its last years experienced the schizophrenic tug between official loyalty to the regime and the intrinsic freedom of humor.”
In 1942, Fellini met Giulietta Masina, and a year later, on October 30, 1943, they were married. Thus began one of the great creative partnerships in world cinema. Several months after their marriage, Masina fell down the stairs and suffered a miscarriage. Then, on March 22, 1945, Pierfederico (nicknamed Federichino) was born but died a mere month later on April 24. These family tragedies affected the couple in profound ways, particularly in the conception of La strada (1954).
The Fascist regime fell on July 25, 1943 and the Allies liberated Rome on June 4, 1944. During that euphoric summer, Fellini set up the Funny-Face Shop with his friend De Seta, drawing caricatures of Allied soldiers for money. It was here that Roberto Rossellini came to see Fellini about his project, titled Rome, Open City (1945). Rossellini wanted the young man to introduce him to Aldo Fabrizi and collaborate on the script (with Suso Cecchi D'Amato, Piero Tellini, and Alberto Lattuada). Fellini accepted, contributing gags and dialogue.
In 1993 Fellini received an Oscar "in recognition of his cinematic accomplishments that have thrilled and entertained audiences worldwide." That same year, he died of a heart attack in Rome at the age of 73, a day after his fiftieth wedding anniversary on October 31st. His wife, Giulietta Masina, died six months later of lung cancer on March 23 1994. Fellini, Giulietta Masina and their son Pierfederico are buried in the same bronze tomb sculpted by Arnaldo Pomodoro. Shaped like a ship's prow in the water, the tomb is located at the main entrance to the Cemetery of Rimini.
The Federico Fellini International Airport in Rimini is named in his honor.
Variety Lights (1950), Fellini's first film, was co-directed with the more experienced director, Alberto Lattuada. The film is a charming backstage comedy set amongst the world of small-time traveling performers, a world Fellini knew well after working on Roberto Rossellini's Paisà in 1946. While the film shoot was an exhilarating one for the 30-year-old Fellini, its release to poor reviews and limited distribution proved a disaster for all concerned. The production company went bankrupt, leaving both Fellini and Lattuada with debts to pay for over a decade.
Fellini's first solo-directed film was The White Sheik (1952). Starring Alberto Sordi, the film is a revised version of a treatment first written by Michelangelo Antonioni in 1949 and based on the fotoromanzi, the very popular photographed cartoon strip romance magazines published in Italy at the time. Producer Carlo Ponti had commissioned Fellini and Tullio Pinelli to develop the treatment. Finding the finished screenplay perplexing, Antonioni gave it to Alberto Lattuada who also turned it down. Fellini then decided to take the plunge and direct the film himself.
Working on the new script with Fellini and Pinelli was playwright Ennio Flaiano (who also co-wrote Variety Lights with Fellini and Lattuada). Together, they crafted a now classic tale of a newly-wed couple whose outward appearance of respectability is demolished by the fantasies of the immature wife (convincingly portrayed by Brunella Bovo). For the first time, Fellini and his composer, Nino Rota, worked together on the film's score. Having met in Rome in 1945, their collaboration continued successfully until Rota's death during the making of the ill-fated City of Women in 1980. This exceptional artistic relationship has been memorably described as one of "empathy, irrationality and magic."
A major discovery for Fellini after his Italian neorealism period (1950-1959) was the work of Carl Jung, whom he first read in 1961 under the supervision of noted Jungian psychoanalyst, Ernst Bernhard. Jung's seminal ideas on the anima and the animus, the role of archetypes and the collective unconscious were vigorously explored in such classics as 8½ (1963), Juliet of the Spirits (1965), Satyricon (1969), Casanova (1976), and City of Women (1980).
Fellini's films were widely acclaimed, and four of his films won the Best Foreign Film Oscar: La strada (1954) ; Le Notti di Cabiria (1957) ; 8½ (1963) and Amarcord (1973). La dolce vita (1960) was also awarded the Palme d'Or at Festival de Cannes and is considered a quintessential film of the 1960's cinema. La dolce vita also coined the term paparazzi to the language. The term derives from Marcello Rubini's (played by Marcello Mastroianni) photographer friend Paparazzo. [8] In 1990, Fellini won the prestigious Praemium Imperiale awarded by the Japan Art Association. Considered as the equivalent of the Nobel Prize, the award covers five disciplines: Painting, Sculpture, Architecture, Music, and Theatre/Film. Past winners include Akira Kurosawa, David Hockney, Pina Bausch, and Maurice Béjart.
*** Den Som Elsker Meget - Udretter Meget ! ***
#12 filmz-DocDoom 16 år siden
#13 filmz-BrotherJack 16 år siden
"La Strada", "8 1/2" og "Casanova" er min absolutte favoritter. Den eneste film jeg ikke rigtigt synes om af Fellini, er "Satyricon". Ellers hører han blandt de allerstørste - hvis ikke den største. Han har i sin karriere vist at han mestrede alt fra den klassiske fortælling til avant-garde. Overvurderet kan jeg langtfra forstå han skulle være - tværtimod. De mest kompromisløøse af hans film blev jo svinet til, og først anerkendt langt langt senere.
Håber at flere af jer derude vil få øjnene op for ham, eller i det mindste give ham en chance.
#14 elwood 16 år siden
eller sågar længere tilbage...
Tom Cruise: "I just love this scene, and the set"
#15 moulder666 16 år siden
Og jeg som troede, at der var mange filmsnobber her på Filmz!
Okay, joke...min stemme ville nok være gået til "Quien coño es ese tipo de Fellini?"
#16 Åkepool 16 år siden
#13 - Jeg tror sgu også, at de fleste har et udemærket kendskab, til film længere tilbage end 90'erne.
For mit vedkommende gælder det bare, at jeg synes skuespillet er så overspillet og karikeret i film fra 60'erne og bagud, at jeg får udslæt af at se det.
Men det kan da godt være, at man snakkede og agerede på den der stive måde, dengang tilbage i tiden ;)
#17 filmz-Liou 16 år siden
#18 filmz-Kadann 16 år siden
Well, der er nok en del der stemmer, udover de faste brugere, der skriver på boardet, tallet af stemmer afslører jo dette. :)
Disse brugere følger ganske sikkert heller ikke diskussionerne - når det så er sagt, kan jeg da sagtens afsløre at jeg heller aldrig har set noget af Fellini, dog kender jeg da hans navn og har set titlerne før, men altså, der er jo stadig omkring 100 års filmhistorie at tage af, så det kan vel ikke være overraskende, at selv meget filminteresserede folk, inkl. dem der ser film fra før 1990, ganske enkelt ikke har nået at se film fra en pågældende instruktør også selvom det måske er en person der fylder meget i filmhistorien.
#19 Skeloboy 16 år siden
Personligt kan jeg godt lide gamle film, men her er det mest de amerikanske film jeg har set + det løse rundt omkring(lidt Kurosawa, lidt Bergman osv.)
#20 filmz-Is 16 år siden