sign in sign up
<<
Home , Anita Ekberg, Casanova (novel), Fellini Satyricon, I Clowns

THE T R S

ALEXANDER VAN DER POLL A life in dreams and Correspondent or years, the strange images of the celluloid films of have captured Fthe imagination of cinemagoers the The strange art of Federico Fellini world over. Even to this day newcomers to film studies are invariably drawn by their dreamlike quality. For more than half a cen- tury his cinema has perplexed us, amused us and startled us into contemplation. Let us stroll then, for a while, in Fellini’s universe. Let us discover more about the man who became an adjective.

‘Although my father wanted me to become an engineer, and my mother a bishop, I am quite content to have succeeded in becoming an adjective’ Federico Fellini

Federico Fellini was born in the Adriatic Coastal town of Rimini, Italy, on the 20th of January 1920. His father Urbano Fellini was a travelling salesman and spent little time at home with the young Federico and his mother, Ida. The young boy showed an early interest in sketching and was devoted to many of the cartoon strips and photo- strip comic books of the time. Fellini, who admits to being a liar, and an embellisher of the truth, especially regarding his childhood, (‘I am a liar, but an honest one’) recalls that he once ran off to join the but was returned to his family after the better half of a week.

‘Fellini was less concerned with telling the truth about his own life, than with painting his history in rich colours and exaggerated excess…

A lover of the circus world and all it entailed, Fellini cracks the ‘…I see no dividing line whip as the ringmaster during the filming of 8½ between imagination and Federico Fellini Insets from top: Fellini’s first job was as a cartoonist and he reality’ never stopped drawing. Here he designs the costumes and makeup for The Clowns At the time of Fellini’s adolescence, Italy was in the grips of Fascism. While the city Fellini often played musical instruments on set, whether it be a populations carried the yoke of its oppres- xylophone, a trombone or as seen here, a trumpet sion, smaller villages like Rimini were less The sets for his films were mostly huge requiring him to con- aware of the true impact of Fascism, and stantly use a megaphone gladly celebrated their leader and his ideals. Meanwhile Fellini received a strict Catholic Fellini in pensive mood on the set of Casanova which was a education at various Jesuit boarding schools. financial failure but an artistic masterpiece

Cape Libr., May/June 2006 38  Fellini often recalled some unpleasant expe- ‘remembers’ and tells his stories that remains riences at the hands of the clergy who ran greatly significant. these schools. They were often fierce, and Fellini dropped out of university where he the young boy sometimes found their rituals was (under duress from his father) study- frightening. Yet, a childhood crush on a nun ing law. He found employment working as indirectly led Federico to want to join the a receptionist, and submitted stories and priesthood. Luckily for us, his resolve was cartoons to one of Italy’s leading satirical not very strong! magazines. He regularly contributed to, and In the light of these preceding events collaborated on motion picture screenplays. in Fellini’s formative years, we are able to In the years before his directorial debut, in identify the three themes that would later 1950, he had contributed to well over a manifest themselves in his cinema, namely: dozen screenplays. a Fascist environment and people; Catholi- Along with some friends, he opened a cism; and, a passion for the circus and its small store in the latter years of World War Felllini embraces his wife people. Though disparate themes, they II, drawing caricatures of American soldiers after filming a scene with her in the movie are the quintessence of Fellini’s art. He for them to send home to their families. The (1957) relentlessly mocked the Fascists, and likewise In addition, he wrote plays for the radio, the Church, and often had a strong, absurd, and it is in this environment that he met circus-like backdrop to do this in. his future wife, Giulietta Masina. Indeed, under Fascism, Church and Masina was a radio actress, and State were united, making it even four months after Fellini wrote a easier for the future director to deride radio play especially for her, they these institutions. were married. Their union, despite Fellini was less concerned with tell- bouts of infidelity on his part, ing the truth about his own life, than would last for the rest of their lives. with painting his history in rich col- By the end of the war, Fellini’s ours and exaggerated excess… The career was about to take a giant images in his films, autobiographical, or leap forward when he met a young not, are rich, vibrant, often absurd, but director by the name of Roberto always fascinating. Moreover, it made Rossellini. for far more interesting cinema than Rossellini is considered by many the truth. Yet, no matter how much to be the founding father of Italian we know (or do not know) of the Neo-realist cinema. His films childhood, or life of Federico Fellini, would cast non-actors, and be nothing could ever tell us more about the The film (1950) started Fellini’s filmed on low budgets, with as little artifice man than his art. career as a director with the assistance of as possible. Classics of this genre include In films such as 1974s (I Milanese director Alberto Lattuada. It was the well-loved De Sica film The bicycle thief remember) and 1987s (Inter- an exuberant and farcical about the (1947), and Rossellini’s own Rome, open city view), the audience gets a glimpse into the world of show business and (1945 and 1946 respectively). It childhood and late adulthood respectively is with these last two works that Rossellini of Federico Fellini. At times, Fellini claimed first worked with Fellini. Fellini collaborated these to be accurate reflections of his life, with Rossellini on the screenplay for both and at other times, he dismissed them as films, and was Rossellini’s assistant director fantasy. Here begins the enigma. Fellini once on Paisan. said, ‘…I see no dividing line between im- Next Fellini wrote the story, the screen- agination and reality.’ These and other films play, assisted Rossellini as director, and even prove his point repeatedly. acted in the 1948 film, The miracle. It was In Amarcord, the director paints a peculiar, clear that Fellini had caught the movie-mak- yet sweetly nostalgic picture of his formative ing/directing bug. years. Images of the giant cruise liner Rex, Finally in 1950, Fellini made his directo- symbol of Fascist glory, slowly passing the rial debut with Variety lights which he fog-drenched coast. An adolescent sexual co-directed with Alberto Lattuada. The film encounter in a seedy cinema. The beguil- deals with a travelling vaudeville group and ing village beauty, and the pathetic village their adventures in the Italian countryside. idiot. Fact or fiction, the film is a fascinat- Fellini’s The White Sheik (1952), although not Giulietta Masina was cast as a member of ing glimpse into the life of one of cinema’s a huge success initially, is today considered the troupe, and would later become a regu- great auteurs. Although Amarcord, nor any a classic Italian comedy with the charm that lar actress in her husband’s films. of his other films, can reliably be viewed as was characteristic of his early films With Fellini’s past experience as a car- autobiographical, it is the way in which Fellini toonist and his love of photoplay magazines, 

Kaapse Bibl., Mei/Junie 2006 39 THE T R S

his next project suited him particularly of adultery (unpunished), public scandal, well. free love, and such were hardly standard The White Sheik (his solo-directo- fare for a country just barely free from war rial debut) concerns a newly-married and Fascism. For many the film seemed to couple on their way to receive a blessing glorify the hedonistic and amoral life of the from the Pope. The bride, long obsessed set of the bohemian area known as the Via by the hero of a photoplay magazine, Veneto. People felt it was an affront to their called The White Sheik, runs off to find newly-gained freedom, and the progress adventure with her idol, but finds that the country was making, by painting such a these often have feet of clay. She learns sordid picture of life in Rome. the painful lesson that there is indeed Fellini strongly contested that it had a difference between reality and fiction. not been his intention to exalt the Sweet It is an unusual comic farce, with Fellini life, in fact he meant the title to be more bringing in his blend of religion and circus ironic. He once said that the name ‘…came extravagance to the mix. to have a meaning exactly the opposite His following efforts met with escalating of what I had intended…I wanted (it) to success, and the future master was well on signify not ‘‘easy life’’ but ‘‘the sweetness of his way to conquering the Italian film market. life’’.’ However, it was a story about a feeble-minded The film deals with a journalist (Marcello girl, sold by her mother to a brutish showman Mastroianni) covering events in the Via that brought Fellini to the attention of the Veneto. It is a world of nightclubs, jaded world market. (The road) released celebrities, visiting royalty, debauched parties in 1954 won that year’s Best Foreign Film and scandals. Along with his photographer, Oscar, and made a star of Fellini’s wife, Giulietta Paparazzo, they both observe and par- Masina. American audiences were so taken take. Marcello continues an extra-marital by her pantomime that they hailed her as the affair, cavorts with in the female Chaplin. Indeed Masina gives a truly Trevi fountain, and has a threesome with a remarkable performance as Gelsomina, whose bored socialite and a prostitute, while his naïve love and admiration for the strongman, long-suffering wife continues her decline Zampano (played by Anthony Quinn), bring La Strada (1954) into mental instability. This is interspersed about her own demise. Her performance Top: This film portrays a brutish strongman with religious imagery. A giant statue of the is filled with such pathos that the character who enjoys flaunting his power and his main Christ is airlifted over Rome by helicopter. remains with one years after seeing the film. victim (above) the impish gentle clown And two young children fake a vision of the (The swindle), and The Virgin. nights of Cabiria brought further earned Fellini a acclaim for the director in 1955 and nomination for the Best Director 1957, but with his next effort, Fellini Oscar, and for Best Screenplay. The would put his permanent stamp on film was also nominated for Best Art Italian and world cinema. Direction, and Piero Gherardi won It is hard to imagine today why La an Oscar for Costume Design. (Inci- dolce vita (The sweet life) caused dentally, La dolce vita is the film from such a stir back in 1960. The im- which the word ‘’ originates ages are sometimes surreal, and the named for the tabloid photographer characters are often immoral or character of Paparazzo.) hedonistic at least, but the offence is While the heat of The sweet less evident. Yet, the Vatican banned life subdued, so Fellini’s creative the film! Audiences shouted insults spirit had seemed, to himself, to fade. at the screen. Fellini was accused of Uncertain of what his next project being a Bolshevik and was spat upon. should be, he became depressed. The media, the priests, public forums, and even parliament denounced the film, often causing riots in the streets outside the theatres. The Vatican called it ‘disgusting’, ‘obscene’, ‘inde- La dolce vita (1960) cent’ and ‘sacrilegious’, even suggesting that the Above: Filming the most famous scene of film should be re-titled The disgusting life. the film at the Trevi Fountain What caused such a passionate outcry from the Italians? One needs to bear in mind that Left: Fellini in his trademark hat and scarf nearly fifty years have passed since its debut, observes Anita Ekber g playing with a kitten and in those fifty years, morals, ethics and other social standards have changed drastically. Issues

Cape Libr., May/June 2006 40  Fellini had thus far directed six full-length 8½ set the tone for the future work features, and co-directed three more. of Fellini, and was universally hailed as a When he added these up, counting the co- masterpiece. The film is worthy of multiple directed projects as halves, he concluded viewings, as the many layers of the plot that he had made seven and a half features. unfold differently each time. Fellini won yet His next feature then, would be number another Oscar for Best Foreign Film, and eight and a half. The film, he decided Gherardi for Costume Design. would be about a screenwriter/direc- (1965) starred Fellini’s tor, with writer’s block. In 8½ (1963) wife, Giulietta Masina. Again, autobiographi- Fellini thus explores his own dynamic as a cal details may be spotted in the long-suf- writer/director, and the creative processes fering wife who has to bear her husband’s that he goes through to produce films. many infidelities. The film also deals with Once again was hired another subject of which Fellini was enam- to play Fellini’s alter ego (this time called oured - spiritualism, magic and the occult. Guido). Fellini did much research into the occult, 8½ is an important film in the Fellini and had great interest in astrology, palmis- oeuvre, in that it represents the first time try and the like. He associated with many that the director gave free reign to his well-known Italian spiritualists, and was often The opening traffic jam scene in the film 8½ imagination. Thus, allowing himself to come found in their company. This fascination (1963) is a dream which takes place in Guido’s up with the truly bizarre dream imagery that with the occult is clearly present in Juliet mind and suggests that he wants to escape his would henceforth become his trademark. of the spirits, but also in many other films, responsibilities The ‘Harem’ dream sequence is particularly especially in the construction of his dream effective, with Guido surrounded by adoring and fantasy sequences. females of every shape and size. Their only Fellini (1969), a very bizarre desire is to please him. They cook, clean, wash film, based on some surviving fragments of and make love to him on demand. There is the work (Satyricon) by the ancient Roman, no jealousy among them, and they all live as a Gaius Petronius (1 AD). The film seems happy ‘family’. But, even in dreams, things can just as fragmented as the text it is based go wrong, and a minor event causes the dream on, with some sub-plots just ending halfway to become a nightmare. The black and white through the telling. Sometimes character images are truly overwhelming. The choreo- relations inexplicably change during the graphy is subtly seducing, and the faces of the course of a scene, and even the final sen- women are truly mesmerising. tence is left unfinished. Some have called Moreover, the opening sequence is equally the work self-indulgent, and it is hard to memorable. Guido floats through the argue with such a statement, however, roof of his car, stuck in a jam-packed the film does cast a mesmerising spell garage, and soars high above the ocean over the (receptive) viewer. and pristine beaches, until he realises Fellini Roma (1972), is again a series he is connected to a rope. The rope, of vignettes, some, one assumes, au- he notices, is being held down on the tobiographical, relating to Rome, both ground by his alter ego, calling him to ancient and modern. Fellini paints come down, as he tugs hard on the a fascinating picture of the city he rope. Guido falls fast, and just before loves so much. The film is peppered he lands, a priest, making the sign of the with the usual bizarre characters, and cross, pronounces, ‘definitely down!’ unusual faces. Someone once said Here the circus also makes its first that Fellini casts faces and not actors, major appearance in a Fellini film. At and in Roma this is especially true. the end of the film, Mastroianni, dressed The dream sequences are stunningly as a ringmaster, armed with a whip, mounted in colour, and the fantasy marches all the people in his life, and his Papal Fashion Parade at the end leaves dream life, round and round the ring. a particularly indelible impression. The circus music (by Fellini favourite As evidenced by the titles of some ) gets faster and faster and of the films mentioned above, Fellini’s the sequence becomes quite dizzying. status (and perhaps ego) had grown Such images are hard to forget, and tremendously; with his name often have influenced many directors, when preceding the title. Thus, taking Alfred they construct their dream sequences, or sur- (1969) is a film filled with Hitchcock’s concept of the name above real films. Those films that critics would today strange and exotic rituals which involve the sub- the title even further by having the name refer to as ‘Felliniesque’. concious mind and contain many exotic sets and become part of the title. costumes allowing Fellini to indulge his artistry  Kaapse Bibl., Mei/Junie 2006 41 THE T R S  Right: Fellini on the set for the film Intervista (1987) which is full of recreations of old memories. It is fitting Bibliography that he features an elephant *Alpret, H. Fellini: a life.- WH Allen, 1987. Below: Casanova is held aloft as the Bondanella, P. The films of Federico winner of the lovemaking contest in the Fellini.- Cambridge U.P., 2002. film Fellini Casanova (1976) Fellini, F. Fellini on Fellini.- Eyre Methuen, 1976. Halliwell, L. Halliwell’s who’s who in the movies (3rd edition by John Walker).- HarperCollins, 2003. Katz, E. The Macmillan international film encyclopedia.- Macmillan, 1994. Liehm, M. Passion and defiance: film in Italy from 1942 to the present.- California opportunity to see Fellini at work, as he really U.P., c1984. was, or as he really wanted us to see him. The Maltin, L. Leonard Maltin’s movie and film may be done in a documentary style, but video guide (1996 Edition).- Signet, 1995. one ignores the director’s penchant for lying at Monaco, J. The second Virgin film guide.- one’s own peril. Virgin, 1993. Intervista was also the director’s final of- Sherman, E. Directing the film: film direc- fering and six years later Federico Fellini died. tors on their art.- Little, 1976. He was followed less than a year later by his Wiegand, C. Federico Fellini: ringmaster of devoted wife, and inspiration for so much of dreams, 1920-1993.- Taschen, c2003. his art. Wolf, W. Landmark films: the cinema and Amarcord (1974), Fellini Casanova Federico Fellini gave the world of the visual our century.- Paddington P., 1979. (1976), Ginger & Fred (1986) and his final arts a legacy that has not yet been equalled in Note: *Title not available in Provincial Library feature Intervista (Interview) in 1987, are terms of originality and vision. The visual feasts Service stock. all very telling in their depiction of Italian that are his films, continue to feed the imagina- life, history, nostalgia and introspection. And tion of film scholars, enthusiasts and those in 2 0 0 6 Intervista in particular gives the film lover an the profession to this day.

Screenwriter 1949 Il mulino del Po 1962 Boccaccio ‘70 () (Segment: The temptation of 1939 Lo vedi come sei 1950 Francesco, giullare di dio Doctor Antonio) 1940 Il pirata sono io (Flowers of St. Francis) *1963 8½ (Otto e mezzo) 1940 Imputato alzatevi 1951 Cameriera bella presenza 1965 Juliet of the spirits 1940 No me lo dire offresi (Attractive maid available) (Guilieta Degli Spiriti) 1941 Documento Z-3 1951 La cittá si difende 1968 Toby dammit 1941 Bentornato Signor Gai (Pasport to hell) (Episode III in Tre Passi nel delirio) 1941 Sette poveri in automobile 1952 Il brigante di Tacca del Lupo *1968 Block-Notes Di Un Regista 1941 I predoni del Sahara (The Brigand of Tacca del Lupo) (A director’s notebook) 1942 Quarta pagina 1969 Fellini Satyricon 1942 Avanti c’è posto Director/Screenwriter 1970 The clowns () 1942 Campo dei fiori *1972 Fellini Roma 1950 Variety lights (Luci Del Varieta) 1942 L’ultima carrozella 1973 Amarcord (I remember) *1952 The White Sheik 1942 Chi l’ha visto? 1976 Fellini Casanova (Lo Sceicco Bianco) (Il Casanova di Federico Fellini) 1942 Apparizione 1953 The vitelloni (I vittelloni) *1979 1942 Tutta la cittá canta 1953 A matrimonial agency (Prova D’Orchestra) *1945 Roma, cittá aperta (Un’agenzia Matrimoniale) 1980 (Rome open city) Eps. IV of L’amore in cittá) (La cittá delle donne) 1946 Il delitto di Giovanni Episcopo *1954 La Strada (The road) *1984 (The crime of Giovanni Episcopo) 1955 Il Bidone (The swindle) (E La nave va) *1946 Paisá (Paisan) 1957 The nights of Cabiria *1986 1947 Senza pietá (Without pity) (Le Notti Di Cabiria) *1987 Intervista (interview) 1948 Il miracolo (The miracle) *1960 La dolce vita (The sweet life) 1948 Il nome della legge Note: *Titles available in Provincial Library (In the name of the law) Service stock.

Cape Libr., May/June 2006 42