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301 CINEMA the EBB and FLOW of FAMILIES in FELLINI's I VITELLONI TONIA CATERINA RIVIELLO Santa Clara University to My Mother A

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301 CINEMA the EBB and FLOW of FAMILIES in FELLINI's I VITELLONI TONIA CATERINA RIVIELLO Santa Clara University to My Mother A Anno XXXV, n. 1 RIVISTA DI STUDI ITALIANI Aprile 2017 Tutti i diritti riservati. © 1983 Rivista di Studi Italiani ISSN 1916-5412 Rivista di Studi Italiani (Toronto, Canada, in versione cartacea fino al 2004, online dal 2005) CINEMA THE EBB AND FLOW OF FAMILIES IN FELLINI’S I VITELLONI TONIA CATERINA RIVIELLO Santa Clara University To my mother Antonia Who admired Giulietta and Federico Fellini. She was born, Like the Maestro, In the fortunate winter of 1920. She has dedicated her life To the Catholic Church, The family and friends, The neglected and orphans of the world . he film I Vitelloni (1953), directed by Federico Fellini, focuses on a group of young men who are lingering in a state of youthful Tirresponsibility. In the film’s first half, vague dreams, minor ploys, and predictions predominate, whereas the second half brings real-world concerns, personal struggles and enlightenment, which leads toward the dissolution of the group. The preoccupations of these young men are indicative of an idealistic view of life as well as the anticipation of mature age. We believe that the vitelloni are trying to discover how many of their dreams the post-war era will allow them to fulfill. At first glance, they may appear indolent and not very ambitious about their futures ‒ their ages ranging from about 20 to 30. In fact, we see them trying to earn money: Leopoldo by writing plays, Riccardo by being a host and singer, and Fausto by working in a shop. The group and their families act as one grand family. The film is a microcosm of Italian society in the 1950s where young people face uncertain employment. In the years after the war, one can clearly see the living conditions of the classes in society. Those who own a shop or property live comfortably if not lavishly. For young men with aspirations, the thought of one day going to Rome or Milan keeps their 301 TONIA CATERINA RIVIELLO minds active while they spend their days in the group and hope to find diversion from taking serious action. Parents help the new generation find work, if not the ideal occupation at least one good enough to provide sustenance for a young family. Italian parents, especially during such times, are happy for their children to remain at home and encourage their efforts to find better prospects. The group of friends is like many brothers who participate in each other’s lives and help whoever needs help. We see how much Italian families sacrifice for their children and their children’s children. They never fail to comfort someone who is suffering from one disappointment or another. Friendships are maintained both by parents and children; and the honor of the family’s name is paramount. Solidarity is essential, as is demonstrated by many examples in the film. At certain moments, we almost forget which town or country we are in. A compelling portrayal of the human condition, with all its truths and contradictions, makes Fellini’s cinema original, challenging, and rewarding 1. The life of a tourist town on the Adriatic sea is examined through off-season activities and festivities. Fellini shows the audience the strengths and weaknesses of these young men. Goodbyes punctuate the film, the last being Moraldo’s to his hometown, in the voice of Fellini. Some critics have claimed that the film was conceived as a homage to provincial towns and their way of life 2. As is well known, Fellini had already left and was living in Rome with his wife, Giulietta, when I vitelloni was filmed. The director recaptures, through memories, his youth and the dynamic rhythm of life within Italian families 3. 1 Enrico Giacovelli, Tutti i film di Federico Fellini , Torino: Lindau, 2002 1. “Genesi: Nel 1953 Fellini aveva già pronto il copione della Strada e intendeva realizzarlo a tutti i costi: il costo minimo necessario fu accontentare i produttori realizzando una commedia che non scontentasse troppo il pubblico. Ecco dunque spuntare all’improvviso, da uno scambio di vedute con Ennio Flaiano, l’idea dei Vitelloni ”, p. 57. 2 Stefania Miccolis, Federico Fellini e la Spagna , Lanciano: Casa Editrice Rocco Carabba, 2013. “Il film I vitelloni (1953), di palese impronta autobiografica, assurge anche ad icona di una certa Italia di provincia. Lo stesso titolo, derivato da una espressione dialettale di Rimini, diventerà metafora di una perenne dimensione adolescenziale.... Indicava in origine i giovanotti indolenti delle cittadine balneari adriatiche, avvezzi ad ammazzare la noia di provincia in serate tirate fino a tardi, tra passeggiate in gruppo e soste oziose nei caffè”, p. 48. 3 Emanuela Pecchioli, “I vitelloni all’estero. L’influenza del film di Fellini sul cinema internazionale”, Conference proceedings: Fellini: A Disorderly and Passionate Genius of Italian Cinema. 13th Annual Italian language Week in the World. Thursday, October 17, 2013 - Saturday, October 19, 2013 . “I vitelloni della cittadina marina sono tipi universali e questo anche grazie a fattori in parte casuali. Per cominciare, nella stesura del soggetto, i ricordi di 302 THE EBB AND FLOW OF FAMILIES IN FELLINI’S I VITELLONI The hour and the seasons pass almost unobserved, as if time stood still. The young men live day by day seizing the joy of life and youth. Fellini and his collaborators with photography and music have succeeded in capturing the passing of time. A serenity in the air engenders this sweet way of living. Love pervades the scene even when tensions arise. Love is the force, the wind, that sustains their reality. Though the spectacle of nature is not accentuated in the film, it is always present in the spirit of the spectator. I vitelloni stresses the roles of women in Italian society as mothers, sisters, and fiancés. They are shown as having active roles, whether in the households or as workers helping to support their families. Women show a new independence in not being constrained by the family fortune or lack thereof. They may or may not listen to their brothers’ advice or intimidation. The women recognize their potential as individuals who can shape the future. Their beauty is showcased from the beginning in the “Miss Sirena” beauty pageant, in which some vitelloni act as announcers, journalists, and singers 4. Abundant communal attendance and enthusiasm mark the award ceremony. Sandra, a delicate young woman about twenty years old, is elected the clear winner. Unexpectedly, she shows trepidation at such an honor and faints during the congratulations showered on her by the crowd. Not just her family rushes to find a doctor; the entire audience wants to help. Fausto, a flirtatious young man about thirty years old, is the only exception. Unlike the other vitelloni , who are busy contributing to the success of the pageant, Fausto pursues a young, unnamed, contestant. He treats her in an ungentlemanly manner and denies making any promises to Sandra. When Sandra’s mother demands an explanation from the doctor and the doctor orders the room to be cleared, Fausto’s face betrays a sense of controlled alarm. He slips away, runs home in the rain, and prepares to go out of town. He is ironically called the “spiritual guide” whom the other vitelloni follow. His irresponsible attitude is immediately apparent as he explains to Moraldo, Sandra’s brother, that he wants to get a good job and then return to Sandra later. He even invites Moraldo to leave with him, reminding him that all the vitelloni have thought of leaving the town for better prospects. Moraldo’s lack of stern reaction to such a rash suggestion is the first instance of his slow, pondering manner, which is a composite of ethical uprightness and weak personal resolve. Fausto’s father, Francesco ‒ who has evidently overheard the two young men ‒ shows no such Fellini si confusero e si mischiarono con le memorie pescaresi di Flaiano”, p. 162. 4 Fabrizio Borin, Federico Fellini: A Sentimental Journey Into the Illusion and Reality of a Genius. In conjunction with Carla Mele , Rome: Gremese Editori, 1999. “From the very start the ordinary pleasures of the party are interrupted by a summer storm brought on by a change of weather that, just in a few shots, sets the action, and Fausto’s anxiety into motion”, p. 34. 303 TONIA CATERINA RIVIELLO hesitation, is clearly aware of his son’s escapades, and confiscates his hastily prepared suitcase. The storm at the pageant is a warning that “fortuna” is likely to change the course of human lives. Moraldo helps Fausto get out of trouble with his sister and other misadventures. Moraldo sacrifices himself for others. In an early scene, his mother immediately calls on him to get a doctor for Sandra, because he is considered trustworthy. Music The music has three original themes. The first theme has a tender romantic mood, often associated with Sandra’s love of Fausto. The second theme anticipates for the viewer a moment of happiness or resolution and is used repeatedly to set the emotional tone. We hear this theme the first time when Fausto is running home in the rain after the pageant. The last time we hear this is when he goes to his father’s house where he finds Sandra. The third theme appears in the peaceful situations, such as the panoramic view of the group by the sea 5. Aside from these, some patriotic music precedes the opening credits, sung by a chorus of men about their entry into the war: “Open your doors if you want to see how brave and enthusiastic these young men are”. Fellini uses this opening sequence to show that the vitelloni are the lucky ones, too young to serve in World War II and with the luxury of drifting.
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