by أﻧﺎ ﻓﯿﻠﻠﯿﻨﻲ {Read Ebook {PDF EPUB All Federico Fellini's films – ranked! A gentle, episodic Fellini, with Roberto Benigni playing Ivo, a madcap character who travels far and wide across the Italian landscape on a romantic, fantastical quest to capture the moon. 19. (1986) This reunited two of Fellini’s great collaborators: his wife and great love and Marcello Mastroianni playing two cheesy old hoofers who do a Fred’n’Ginger tribute routine. Marcello Mastroianni and Giulietta Masina in Ginger and Fred. Photograph: Stella/Bibo Tv/Anthea/PEA/Kobal/Rex/Shutterstock. 18. (1987) A fantasy-fictional version of a documentary, as Fellini grants an interview to a Japanese camera crew and takes them round Cinecittà studios and the contents of his own mind and memories. 17. (1980) Some quaint softcore sensuality, perhaps, in this study of a man (Mastroianni) who, Dante-like, wakes up in the middle of his life and finds himself in a hotel in the middle of the woods that is overrun with desirable women. 16. (1969) A movie with Fellini’s signature surrealism and episodic structure: a fever dream of imperial Rome, taken from Petronius. 15. (1950) Fellini’s debut movie, co-directed with Albert Lattuada, and with a real taste of the exuberance and theatricality still to come. A beautiful young woman joins a travelling troupe of entertainers. Masina has a tiny role as the girlfriend of one of the vaudevillians. Peppino Da Filippo and Giulietta Masina in Fellini’s first feature film, Variety Lights. Photograph: Capitolium/Kobal/Rex/Shutterstock. 14. Fellini’s Casanova (1976) Donald Sutherland is Casanova who, in keeping with Fellini’s habitual wayward episodic anarchy and surrealism, is shown not really as a great lover, but an absurd and comic figure at the mercy of fate and his urges. 13. (1978) An interesting, atypical, underrated Fellini film – perhaps closer to Miloš Forman – a political satire about an orchestra that goes on strike. 12. The Clowns (1970) A docu-fiction about Fellini’s fascination and passion for circus clowns. It features – as a dwarf nun – Adelina Poerio, who went on to play the red-clad killer in Don’t Look Now. 11. The White Sheik (1952) This was Fellini’s first solo directing credit: a joyful romantic comedy that stars the veteran Roman actor Alberto Sordi as a bridegroom whose wife goes missing. It was remade by Woody Allen as one of the sections in his 2012 film To Rome With Love. Alberto Sordi and Brunella Bovo in The White Sheik. Photograph: PDC/OFI/Kobal/Rex/Shutterstock. 10. (1955) This film , like , is a midway point between the neorealism of Fellini’s early screenwriting career and the humour and picaresque pathos of his later work. Broderick Crawford, Richard Basehart and Masina star in a story about a team of confidence tricksters roaming the countryside tricking farmers out of their savings. Crawford plays Augusto, the leader of the gang, who is coming to tire of this life. His personal confusion is brought to a crisis when his daughter re-enters his life. 9. Roma (1972) An intensely personal, exuberant and extravagant film that is at once a fantastical autobiography and a kind of episodic, biographical portrait of the film’s leading character: Rome itself, which is presented in a series of semi-connected episodes of its past and present. Roma is also notable for featuring a swansong appearance for the legendary Roman star Anna Magnani. As so often, the movie transforms material that would otherwise be merely autobiographical: a heightened, hallucinatory version of Fellini takes us on a journey into the city, beginning with a spectacular shot of a traffic jam. 8. (1965) This was Fellini’s first full-length colour film, and it is a classic of fantasy, theatricality and sensuality. Masina stars as Juliet, an unhappily married woman with a philandering husband, who conceives a preoccupation with the life of her super-sexy and buxom neighbour Suzy, played by the actor Sandra Milo (who played the director’s mistress in 8 ½). Suzy seems to live a guilt- and risk-free life of sexual pleasure in a house tricked out for gratification, and she appears to be inviting Juliet to join her in this attitude. A complex, unhappy film, said to be inspired by a difficult patch in Masina’s relationship with Fellini. 7. (1983) Another surreal gem from Fellini: a movie whose love of its own artificiality is obvious. It’s a hothouse flower of a film, created in the studio, not the streets – about as far from neorealism as you can get. A group of musical notables are on a cruise-ship journey to scatter the ashes of a famous opera singer – and Fellini serves up a chocolate box of bizarre and hilarious moments and scenes as these various conductors, soloists and sopranos bicker, intrigue and fall out. But the setting is July 1914, after the Archduke Franz Ferdinand assassination, with war on the horizon, and the tension is ratcheted up when a group of Serbian refugees are accepted on to the ship. gathered Fellini’s memories of the fascist Italy. Photograph: Ronald Grant Archive. 6. Amarcord (1973) Fellini’s genius for welding memory, dream and waking consciousness is on show in this classic movie, whose title is a slang phrase for “I remember”. It’s a personal, quasi-autobiographical tale of a little boy growing up near Rimini, the place of Fellini’s own boyhood, in an Italy dominated by fascism and the Catholic church. As ever, the spirit and aesthetics of the circus are present: scenes and ideas and images will exuberantly follow each other for our delectation like circus acts being brought into the ring. 5. (1957) One of Fellini’s truly great films, with a fierce note of melancholy and even tragedy that is perhaps atypical of him. Masina plays Cabiria, a sex worker whose paradoxical mixture of vulnerability and defiant strength is rendered in a series of episodes. She lives in a wretched shack on the outskirts of town: the eerie modernised wasteland that captured the imagination of both Fellini and Michelangelo Antonioni. Cabiria leads an existence that is almost feral, but at any moment she could find herself in a rich man’s apartment or on a squalid street, and she rises above it all. 4. (1953) Fellini’s I Vitelloni (“The Young Bucks”) is an explosion of energy, vitality and warmth: a crowd of restless young men (each with a dash of Fellini himself), led by the rising comedy star Alberto Sordi, dream of escaping their provincial hometown while remaining fiercely loyal to it. Quite a lot of the time, they do nothing and there is not much to do: they grow moustaches, then shave them off. They chase after women and then feel themselves being chased – evading the responsibilities of fatherhood – and, of course, there is the key Fellini carnival moment. Giulietta Masina and Anthony Quinn in La Strada. Photograph: Allstar/Cinetext/Allstar Colle. 3. La Strada (1954) The heart-wrenching operatic pathos of this early Fellini masterpiece will blow you away, no matter how many times you see it. Masini gives a Chaplinesque performance as the simple working-class girl, with what would now be called learning difficulties, who is sold by her family for 10,000 lire to a brutish travelling player called Zampanò, played by Anthony Quinn. He bullies and exploits her but realises too late that her presence in his life was the working of a mysterious divine grace. It is a rare moment in Fellini when he goes behind the scenes of circus theatricality and shows us that it is not simply a gorgeously surreal phenomenon, but a tough business that involves heartbreak for its practitioners. 2. (1960) There is pure euphoria and inspiration in this magnificent film that satirises the fashionable world of Swinging Rome in the early 1960s. Fellini’s cinema put Italy at the centre of the world in the way that the Beatles would put Britain there a few years later. Mastroianni is the jaded gossip journalist who hangs around the Via Veneto parasitically hoping for showbusiness stories and despising himself for not having written his novel yet. He falls briefly in love with a visiting American star, played by Anita Ekberg, the pair disporting themselves in the Trevi fountain, and submits to a beating from her enraged husband. Later, he will report on a sighting of the Virgin Mary by two children; the sacred and profane are of equal importance here. Watch a trailer for the restored version of 8 ½ 1. 8 ½ (1963) Fellini’s masterpiece starts with cinema’s greatest and most disturbing dream sequence, all the more disquieting for being woven into a film in which dreams and fantasies are being manufactured as a way of escaping dreary reality. Mastroianni plays a film director, Guido Anselmi, who is evidently based on Fellini himself and clearly being created as a kind of therapeutic self-invention or self-mythologising. Guido has reached a moment of personal and creative crisis: he is blocked and production on his latest film has stalled. He embarks on a personal voyage into memory and the past, and a reckoning with all the women he has loved. The BFI is celebrating Fellini’s centenary with a series of screenings in London and on tour from 3 January. .ﻓﯿﺪرﯾﻜﻮ ﻓﯿﻠﻠﯿﻨﻲ.. ﺳﯿﻨﻤﺎﺋﻲ ﺗﺠﺎوز اﻟﺴﯿﻨﻤﺎ

ﯾﺤﺘﻔﻞ اﻟﻌﺎﻟﻢ ﯾﻮم 20 ﯾﻨﺎﯾﺮ/ﻛﺎﻧﻮن اﻟﺜﺎﻧﻲ ﺑﺎﻟﺬﻛﺮى اﻟـ99 ﻟﻤﯿﻼد اﻟﻤﺨﺮج اﻹﯾﻄﺎﻟﻲ اﻟﻤﺨﺘﻠﻒ ﻓﯿﺪرﯾﻜﻮ ﻓﯿﻠﻠﯿﻨﻲ، واﻟﺬي ُوﻟﺪ ﻓﻲ اﻟﺘﺎرﯾﺦ اﻟﻤﺬﻛﻮر ﺳﻨﺔ 1920 ﺑﻤﺪﯾﻨﺔ رﯾﻤﯿﻨﻲ اﻹﯾﻄﺎﻟﯿﺔ، وﻏﺎدرھﺎ ﯾﻮم 31 أﻛﺘﻮﺑﺮ/ﺗﺸﺮﯾﻦ اﻷول 1993 ﻋﻦ ﻋﻤﺮ ﻧﺎھﺰ 73 ﻋﺎﻣﺎ، ﺑﻌﺪ أن ﻣﻸ ذﻛ ُﺮه ﻣﺸﺎرق اﻷرض وﻣﻐﺎرﺑﮭﺎ، وﺑﺎت ﻣﻦ ﺑﯿﻦ أھﻢ اﻟﻤﺨﺮﺟﯿﻦ اﻟﺬﯾﻦ ﻛﺘﺒﻮا أﺳﻤﺎءھﻢ ﺑﺎﻟﺤﺒﺮ اﻟ ُﻤﺨﻠّﺪ ﻟﺴﯿﺮة اﻟﻌﺒﺎﻗﺮة، وأﺻﺒﺢ ﻣﺮﺟﻌﺎ ﻣﮭﻤﺎ ﻟﻌﺸﺎق اﻟﺴﯿﻨﻤﺎ ودارﺳﯿﮭﺎ، وذﻟﻚ ﻻﺧﺘﻼﻓﮫ وﺗﻤﯿﺰه ﺑﻌﺪ ﻛﺴﺮ ﺧ ّﻂ وﻗﻮاﻋﺪ اﻟﻤﺪارس واﻟﺘﯿﺎرات اﻟﺴﯿﻨﻤﺎﺋﯿﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﺳﺎﺋﺪة ﻓﻲ وﻗﺘﮫ، وﺻﻨﻊ ﻟﻨﻔﺴﮫ .ﻧﮭﺠﺎ ﺧﺎﺻﺎ ﺗﻤﯿّﺰ ﺑﮫ ﻋﻦ ﻏﯿﺮه، ﺑﻌﺪ أن ﻋﻜﺲ ذﻛﺮﯾﺎﺗﮫ اﻟﺘﻲ ﻛﺎﻧﺖ ﻣﺠﺮد ﺧﯿﺎل وﺣ ّﻮﻟﮭﺎ إﻟﻰ ﻣﺸﺎھﺪ ﺣﻘﯿﻘﯿﺔ ُﻣﻘﯿّﺪة وﻣﺘﺮاﺑﻄﺔ ﻓﻲ ﻛﻞ أﻓﻼﻣﮫ إن ﻛﻨﺖ ﺳﺄﺻﻨﻊ ﻓﯿﻠﻤﺎً ﺣﻮل ﺣﯿﺎة ﺷﺨﺺ ﻣﺎ، ﻓﮭﻲ ﺑﺎﻟﻤﺤﺼﻠﺔ ﺳﺘﻜﻮن ﺣﯿﺎﺗﻲ".. ھﻜﺬا ﻛﺎن ﯾﻘﻮل، وﯾﻀﯿﻒ " أﻋﺘﻘﺪ أﻧﻨﻲ ﺣﺘﻰ ﻟﻮ ﻋﻤﻠﺖ ﻓﯿﻠﻤﺎ ﻋﻦ ﻛﻠﺐ أو ﻛﺮﺳﻲ، ﻟﻜﺎن ﺳﯿﺮة ذاﺗﯿﺔ إﻟﻰ ﺣﺪ " ." ﻣﺎ " ، وﯾﺪﻋﻢ أﯾﻀﺎ ھﺬا اﻟﻘﻮل اﻟﻜﺎﺗﺐ اﻟﻜﺒﯿﺮ أﻟﺒﺮﺗﻮ ﻣﻮراﻓﯿﺎ " إن ھﺬا اﻟﻤﺨﺮج ﯾﺼﻮر أﺣﻼﻣﮫ اﺧﺘﺼﺮ ﻓﯿﺪرﯾﻜﻮ ﻓﯿﻠﻠﯿﻨﻲ اﻟﺤﯿﺎة اﻟﺘﻲ ﻋﺎﺷﮭﺎ ﻓﻲ أﺷﺮطﺔ اﻷﻓﻼم، إذ ﺑﺎت ﯾﺮاھﺎ ﺗﺘﺤﺮك أﻣﺎﻣﮫ ﻛﺤﻠﻢ ﺣﻘﯿﻘﻲ ﻋﺎﻧﻖ اﻟﻮاﻗﻊ، ﯾُﻌﺎﯾﺶ ﻓﯿﮫ ﺷﺨﺼﯿﺎﺗﮫ اﻟﺠﺪﯾﺪة واﻟﻤﺘﻌﺪدة ﻓﻲ ﻣﺮاﺣﻠﮭﺎ اﻟﻌﻤﺮﯾﺔ اﻟﻤﺨﺘﻠﻔﺔ، وﯾُﻌﯿﺪ اﻛﺘﺸﺎف ﻧﻈﺮة طﻔﻮﻟﺘﮫ ﻟﻮاﻟﺪﯾﮫ وأﻗﺎرﺑﮫ وأﻗﺮاﻧﮫ و َﻣﻦ ﻋﺎﺷﻮا وﻋﺎﯾﺸﻮا ﻣﺮﺣﻠﺘﮫ، واﻷﺷﯿﺎء اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺤﯿﻂ ﺑﮫ وﺳﺠﻠﮭﺎ ﻋﻘﻠﮫ اﻟﻮاﻋﻲ، ﻟﺪرﺟﺔ أن ﻛﻞ ﻣﻦ ﻟﮫ ﻋﻼﻗﺔ ﺑﮭﺬا .اﻟﻤﺨﺮج ﺑﺎت ﯾﮭﺮول إﻟﻰ ﻗﺎﻋﺎت اﻟﺴﯿﻨﻤﺎ ﻣﻊ ﻋﺮض ﻛﻞ ﻓﯿﻠﻢ ﺟﺪﯾﺪ، ﻋﺴﻰ أن ﯾﺮى ﻧﻔﺴﮫ ﻓﯿﮫ، وﻓﻲ اﻟﻮﻗﺖ ﻧﻔﺴﮫ ﻟﯿﻜﺘﺸﻒ ﻛﯿﻒ ﻛﺎن ھﺬا اﻟﻤﺨﺮج ﯾﻨﻈﺮ ﻟﮭﻢ وﯾﺘﺼﻮرھﻢ

ﻧﻘﻞ ﻓﯿﺪرﯾﻜﻮ ﺳﯿﺮﺗﮫ اﻟﺬاﺗﯿﺔ إﻟﻰ اﻟﺴﯿﻨﻤﺎ ﺑﻨﻮع ﻣﻦ اﻟﻨﺮﺟﺴﯿﺔ اﻟﻤﺴﺘﺤﺒﺔ واﻟﺘﻜﺒﺮ اﻟﺠﻤﯿﻞ، ﻷﻧﮫ ﻛﺎن ﯾﻌﺘﻘﺪ أن ﺣﯿﺎﺗﮫ ﺗﺤﻤﻞ أھﻤﯿﺔ ﻛﺒﺮى، ﻟﮭﺬا ﺣ ّﻮﻟﮭﺎ إﻟﻰ أﻓﻼم، وﻛﺎن ﻣﻦ اﻟﻤﻤﻜﻦ أن ﻻ ﺗﮭ ّﻢ ﻛﻞ ﻣﻦ ﯾﺸﺎھﺪھﺎ، ﻟﻜﻨﮫ ﻛﺎن ﻣﺤﻘﺎ ﻓﻲ ﻧﺮﺟﺴﯿﺘﮫ وﺗﻜﺒﺮه، ﻷن اﻹﻋﺠﺎب اﻟﻌﺎﻟﻤﻲ اﻟﺬي ﺣﻘﻘﮫ واﻻﻟﺘﻔﺎف اﻟﻜﺒﯿﺮ اﻟﺬي أُﺣﯿﻂ ﺑﺄﻓﻼﻣﮫ؛ ﯾﺠﻌﻠﻨﺎ ﻧﺘﺄﻛﺪ ﺑﺄن ھﺬا اﻟﻤﺨﺮج اﻟﻌﺒﻘﺮي ﻛﺎن ﻣﺤﻘﺎ ﻓﻲ أن ﯾﺤ ّﻮل . ھﺬه اﻟﻤﺤﻄﺎت إﻟﻰ ﺳﯿﻨﻤﺎ، واﻟﺪﻟﯿﻞ ھﻮ اھﺘﻤﺎم اﻟﻌﺎﻟﻢ ﺑﮭﺎ "ﺗﻮاﺻﻞ ﻓﯿﺪرﯾﻜﻮ ﺗﻌﺎوﻧﮫ ﻣﻊ روﺳﯿﻠﯿﻨﻲ ﻓﻲ أﻋﻤﺎل أﺧﺮى ﻗﺒﻞ أن ﯾﺒﺪأ ﻣﻐﺎﻣﺮﺗﮫ اﻹﺧﺮاﺟﯿﺔ اﻷوﻟﻰ ﻣﻊ اﻟﻤﺨﺮج أﻟﺒﯿﺮﺗﻮ ﻻﺗﻮدو ﻓﻲ ﻓﯿﻠﻢ ﯾﺤﻤﻞ ﻋﻨﻮان "أﺿﻮاء ﺣﻔﻞ اﻟﻤﻨﻮﻋﺎت .ﻋﯿﻦ ﺗﺮى ﻓﻲ ﻛﻞ اﻻﺗﺠﺎھﺎت أﻋﺮف ﻓﻘﻂ ﻣﺎ ﺳﻮف ﻟﻦ أﻛﻮﻧﮫ".. ﻟﻄﺎﻟﻤﺎ اﺳﺘﺸﮭﺪ ﻓﯿﺪرﯾﻜﻮ ﺑﻤﻘﻮﻟﺔ اﻟﻔﯿﻠﺴﻮف اﻟﺼﯿﻨﻲ " ﻻو ﺗﺴﻲ " ﻣﺆﺳﺲ اﻟﻤﺎوﯾﺔ، وھﺬا ﺣﯿﻨﻤﺎ ﯾﺘﻢ ﺳﺆاﻟﮫ ﻋﻦ اﻷﺣﻼم اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺮاوده ﻓﻲ اﻟﺼﻐﺮ، " ﻓﻮاﻟﺪه ﻛﺎن ﯾﺮﯾﺪ ﻣﻨﮫ أن ﯾﺼﺒﺢ طﺒﯿﺒﺎ، وأﻣﮫ ﺗﺮﯾﺪه أن ﯾﻜﻮن ﻣﺤﺎﻣﯿﺎ، ﻟﻜﻦ ھﻮ ﻟﻢ ﯾﻜﻦ ﯾﻌﻠﻢ ﻣﺎ ﻛﺎن ﯾﺮﯾﺪه، ﺣﺘﻰ ﻋﻨﺪﻣﺎ ﻗﺮر اﻟﺪﺧﻮل ﻟﻠﺠﺎﻣﻌﺔ ﻟﻢ ﯾﺤﺴﻢ ﺧﯿﺎره ﻓﻲ اﻻﺗﺠﺎه اﻟﺬي ﯾﻨﻮي دراﺳﺘﮫ، وھﺬا ﻟﺘﺪاﺧﻞ أﺣﻼم اﻟﻄﻔﻮﻟﺔ واﻟﻤﺮاھﻘﺔ ﻓﻲ ﺧﯿﺎراﺗﮫ اﻟﻤﺴﺘﻘﺒﻠﯿﺔ وﺣﯿﺎﺗﮫ ﻛﻠﮭﺎ، وﻗﺪ ﻛﺎن ﻣﻮﻟﻌﺎ ﺑﻌﻮاﻟﻢ اﻟﻌﺮض وﻓﻨﻮﻧﮭﺎ، ﺑﺎﻟﻀﺒﻂ ﺑﻌﺎﻟﻢ اﻟﺴﯿﺮك اﻟﺬي ﺗﺸﺘﮭﺮ ﺑﮫ إﯾﻄﺎﻟﯿﺎ، ﺣﯿﺚ ﻗﺎل ﻓﻲ ﻣﺬﻛﺮاﺗﮫ اﻟﺘﻲ ﺗﺮﺟﻤﮭﺎ ﻟﻠﻌﺮﺑﯿﺔ ﻋﺎرف ﺣﺬﯾﻔﺔ : " ﻋﻨﺪﻣﺎ ﻛﻨﺖ ﻓﻲ اﻟﺴﺎﺑﻌﺔ أﺧﺬﻧﻲ أﺑﻮاي إﻟﻰ اﻟﺴﯿﺮك، ﺻﺪﻣﺘﻨﻲ رؤﯾﺔ اﻟﻤﮭﺮﺟﯿﻦ ﺣﻘﺎ، وﻟﻢ أﻋﺮف إن ﻛﺎﻧﻮا ﺣﯿﻮاﻧﺎت أم أﺷﺒﺎﺣﺎ، ﻟﻢ أﺟﺪھﻢ ﻣﻀﺤﻜﯿﻦ، ﻟﻜﻨﻨﻲ أﺣﺴﺴﺖ إﺣﺴﺎﺳﺎ ﻏﺮﯾﺒﺎ، إﺣﺴﺎﺳﺎ ﺑﺄن ﺣﻀﻮري ﻣﺘﻮﻗﻊ. ﻓﻲ ﺗﻠﻚ اﻟﻠﯿﻠﺔ وﻓﯿﻤﺎ ﺗﻼھﺎ ﻋﻠﻰ ﻣﺪى أﻋﻮام ﻛﻨﺖ أﺣﻠﻢ ﺑﺎﻟﺴﯿﺮك، وﺧﻼل أﺣﻼم اﻟﺴﯿﺮك ﺗﻠﻚ ﺷﻌﺮت أﻧﻨﻲ ﻋﺜﺮت ﻋﻠﻰ اﻟﻤﻜﺎن ." اﻟﺬي أﻧﺘﻤﻲ إﻟﯿﮫ، وﻓﻲ ﺗﻠﻚ اﻷﺣﻼم ﻛﻨﺖ أرى ﻓﯿﻼً ﻋﺎدة وﻓﻲ ﻧﻔﺲ اﻟﻤﺮﺟﻊ ﯾﻘﻮل ﻓﯿﺪرﯾﻜﻮ " ﻛﻨﺖ ﻓﻲ اﻟﺘﺎﺳﻌﺔ ﻋﻨﺪﻣﺎ ﺑﺪأت أﺻﻨﻊ اﻟﺪُﻣﻰ وأﻗﯿﻢ اﻟﻌﺮوض، ﻛﻨﺖ أرﺳﻢ دُﻣﻰ ﻣﺴﺮﺣﻲ ﻗﺒﻞ أن أﺻﻨﻌﮭﺎ ﻣﻦ اﻟﻮرق اﻟﻤﻘ ﱠﻮى واﻟﺼﻠﺼﺎل، ﻛﺎن ﯾﻌﯿﺶ ﻋﻠﻰ اﻟﺠﺎﻧﺐ اﻵﺧﺮ ﻣﻦ اﻟﺸﺎرع ﻧ ﱠﺤﺎت، وﻟﻤﺎ رأى دُﻣﺎي ﺷﺠﻌﻨﻲ، وﻗﺎل إﻧﻨﻲ ﻣﻮھﻮب، وﻛﺎن ھﺬا ﺗﺸﺠﯿﻌﺎ، ﻟﯿﺲ ھﻨﺎك أﺛﻤﻦ ﻣﻦ اﻟﺘﺸﺠﯿﻊ اﻟﻤﺒﻜﺮ، وﺧﺎﺻﺔ ﻋﻨﺪﻣﺎ ﻻ ﯾﻜﻮن اﺳﺘﺤﺴﺎﻧﺎ ﻋﺎﻣﺎ، ﺑﻞ ﻋﻠﻰ أﻣﺮ ﻣﻌﯿﻦ، ﻋﻠﱠﻤﻨﻲ ذﻟﻚ اﻟﻨ ﱠﺤﺎت ﻛﯿﻒ أﺳﺘﺨﺪم اﻟﺠ ﱠﺺ ﻟﻠﺮؤوس، أﻗﻤﺖ ﻋﺮوﺿﺎً وأدﯾﺖ ﻛﻞ اﻷدوار، وھﻜﺬا ﺗﻌﻮدت ﺗﺄدﯾﺔ ﻛﻞ اﻷدوار وطﻮرت -ﻓﻲ اﻋﺘﻘﺎدي- اﻷﺳﻠﻮب اﻟﺬي اﺳﺘﺨﺪﻣﺘﮫ ."ﻓﯿﻤﺎ ﺑﻌﺪ ﻛﻤﺨﺮج، ﻷوﺿﺢ ﻟﻠﻤﻤﺜﻠﯿﻦ ﻛﯿﻒ أرى ﻛﻞ ﺷﺨﺼﯿﺔ، وﺑﺎﻟﻄﺒﻊ ﻛﻨﺖ أﻧﺎ اﻟﻜﺎﺗﺐ أﯾﻀﺎً .ﻣﻊ ﺑﺪاﯾﺔ دراﺳﺔ ﻓﯿﺪرﯾﻜﻮ ﻓﻲ اﻟﺠﺎﻣﻌﺔ وﺟﺪ ﻋﻤﻼ ﻓﻲ إﺣﺪ اﻟﻤﺠﻼت اﻟﮭﺰﻟﯿﺔ ﻓﻲ روﻣﺎ، وﻛﺎن اﻟﮭﺰل واﻻﺳﺘﻌﺮاض ﻣﻦ ﺑﯿﻦ اﻟﺨﯿﺎرات اﻟﺘﻲ ﻛﺎن ﯾﺤﺒﮭﺎ وﯾﻌﺸﻘﮭﺎ .اﻟﺨﻄﻮات اﻷوﻟﻰ إﻟﻰ اﻟﺴﯿﻨﻤﺎ ﻣﻊ ﺑﺪاﯾﺔ دراﺳﺔ ﻓﯿﺪرﯾﻜﻮ ﻓﻲ اﻟﺠﺎﻣﻌﺔ وﺟﺪ ﻋﻤﻼ ﻓﻲ إﺣﺪ اﻟﻤﺠﻼت اﻟﮭﺰﻟﯿﺔ ﻓﻲ روﻣﺎ، وﻛﺎن اﻟﮭﺰل واﻻﺳﺘﻌﺮاض ﻣﻦ ﺑﯿﻦ اﻟﺨﯿﺎرات اﻟﺘﻲ ﻛﺎن ﯾﺤﺒﮭﺎ وﯾﻌﺸﻘﮭﺎ، إذ أﺻﺒﺢ ﯾﺮﺳﻢ اﻟﻜﺎرﯾﻜﺎﺗﯿﺮ، . ﻧﺎھﯿﻚ ﻋﻦ ﻋﻤﻠﮫ ﻛﺼﺤﻔﻲ ﺟﺮاﺋﻢ وﻗﺪ ﻓﺘﻨﮫ ھﺬا اﻟﻌﺎﻟﻢ طﻮﯾﻼ ودﻓﻊ ﺑﮫ ﻛﻲ ﯾﻔﺘﺢ ﻣﺤﻼ رﻓﻘﺔ ﺑﻌﺾ اﻷﺻﺪﻗﺎء ﯾﺨﺘﺺ ﻓﻲ رﺳﻢ اﻟﺒﻮرﺗﺮﯾﮫ وﺑﯿﻊ اﻟﻠﻮﺣﺎت اﻟﻔﻨﯿﺔ، ﻧﺎھﯿﻚ ﻋﻦ ﻋﻤﻠﮫ ﻛﻜﺎﺗﺐ ﻧﺼﻮص ھﺰﻟﯿﺔ ﻟﻔﺎﺋﺪة اﻟﻤﻤﺜﻞ أﻟﺪو ﻓﺎﯾﺮﯾﺰي، ﻟﯿﺪﺧﻞ ﺑﻌﺪھﺎ ﺗﺠﺮﺑﺔ أﺧﺮى، وھﻲ اﻟﺨﻄﻮة اﻷوﻟﻰ اﻟﺘﻲ أدﺧﻠﺘﮫ ﻋﺎﻟﻢ اﻟﺴﯿﻨﻤﺎ ﺑﻌﺪ اﻟﺪﻋﻮة اﻟﺘﻲ ﺗﻠﻘﺎھﺎ ﻟﻠﻤﺸﺎرﻛﺔ ﻓﻲ ﻛﺘﺎﺑﺔ ﺳﯿﻨﺎرﯾﻮ ﻟﻠﻤﺨﺮج روﺑﯿﺮﺗﻮ روﺳﯿﻠﯿﻨﻲ ﻟﻔﯿﻠﻢ ﺑﻌﻨﻮان "روﻣﺎ .ﻣﺪﯾﻨﺔ ﻣﻔﺘﻮﺣﺔ" ﺳﻨﺔ 1945، ﻧﺎھﯿﻚ ﻋﻦ اﺷﺘﻐﺎﻟﮫ ﻛﻤﻤﺜﻞ أﯾﻀﺎ ﻓﻲ ھﺬا اﻟﻔﯿﻠﻢ وﻗﺪ ﺗﻮاﺻﻞ ﺗﻌﺎوﻧﮫ ﻣﻊ روﺳﯿﻠﯿﻨﻲ ﻓﻲ أﻋﻤﺎل أﺧﺮى ﻗﺒﻞ أن ﯾﺒﺪأ ﻣﻐﺎﻣﺮﺗﮫ اﻹﺧﺮاﺟﯿﺔ اﻷوﻟﻰ ﻣﻊ اﻟﻤﺨﺮج أﻟﺒﯿﺮﺗﻮ ﻻﺗﻮدو ﻓﻲ ﻓﯿﻠﻢ ﯾﺤﻤﻞ ﻋﻨﻮان "أﺿﻮاء ﺣﻔﻞ اﻟﻤﻨﻮﻋﺎت" 1950، ﻟﯿﺴﺘﻘﻞ ﺑﻨﻔﺴﮫ ﺑﻌﺪ ﺳﻨﺘﯿﻦ وﯾﻘﻮم ﺑﻤﺤﺎوﻟﺘﮫ اﻹﺧﺮاﺟﯿﺔ اﻷوﻟﻰ ﻟﻔﯿﻠﻢ "اﻟﺸﯿﺦ اﻷﺑﯿﺾ" 1952، وﺑﻌﺪھﺎ ﺑﺴﻨﺔ ﻗﺎم ﺑﺈﺧﺮاج ﻓﯿﻠﻢ آﺧﺮ ﺗﺤﺖ ﻋﻨﻮان "ﻓﯿﺘﻠﻮﻧﻲ" 1953، ﻟﻜﻦ إﻟﻰ ھﻨﺎ ﻟﻢ ﯾﻠﻔﺖ اﻷﻧﻈﺎر إﻟﯿﮫ، .وﻟﻢ ﯾﺤﻘﻖ ﻓﯿﺪرﯾﻜﻮ ﻣﺎ ﻛﺎن ﯾﻄﻤﺢ إﻟﯿﮫ وﯾﻔﻜﺮ ﻓﯿﮫ، ﻟﻜﻦ ﺳﺮﻋﺎن ﻣﺎ زال ھﺬا اﻟﺸﻌﻮر ﺑﻌﺪ ﺻﻮر ﻓﯿﻠﻤﮫ اﻟﺨﺎﻟﺪ "اﻟﻄﺮﯾﻖ" 1954، واﻟﺬي وﺿﻊ ﻓﯿﺪرﯾﻜﻮ ﻓﻲ ﻣﺼﺎف اﻟﻤﺨﺮﺟﯿﻦ اﻟﻜﺒﺎر "ﻓﯿﺪرﯾﻜﻮ ﺗﺰوج ﻣﻦ اﻟﻤﻤﺜﻠﺔ ﺟﯿﻮﻟﯿﺘﺎ ﻣﺎﺳﯿﻨﺎ وﻗﺎل "إﻧﮭﺎ اﻟﻤﺮأة اﻷﻛﺜﺮ إﻟﮭﺎﻣﺎ ﻓﻲ أﻋﻤﺎﻟﮫ .اﻟﻄﺮﯾﻖ" إﻟﻰ اﻟﻌﺎﻟﻤﯿﺔ" ﺗﺰوج ﻓﯿﺪرﯾﻜﻮ ﻣﻦ اﻟﻤﻤﺜﻠﺔ ﺟﯿﻮﻟﯿﺘﺎ ﻣﺎﺳﯿﻨﺎ ﺳﻨﺔ 1943، وﻗﺪ ﺗﻌﺎوﻧﺖ ﻣﻌﮫ ﻓﻲ اﻟﻌﺪﯾﺪ ﻣﻦ اﻷﻋﻤﺎل، ﻛﻤﺎ وﻗﻔﺖ ﻣﻌﮫ ﻓﻲ ﻣﺤﻄﺎت ﺣﯿﺎﺗﯿﺔ ﻛﺜﯿﺮة، إذ ﻗﺎل ﻓﯿﮭﺎ " إﻧﮭﺎ اﻟﻤﺮأة اﻷﻛﺜﺮ إﻟﮭﺎﻣﺎ ﻓﻲ . أﻋﻤﺎﻟﮫ " ، وﻟﻘﺪ ﻟﻌﺒﺖ دور اﻟﺒﻄﻮﻟﺔ ﻓﻲ ﻓﯿﻠﻢ ﻻﺳﺘﺮادا (اﻟﻄﺮﯾﻖ) ﻣﻨﺎﺻﻔﺔ ﻣﻊ اﻟﻤﻤﺜﻞ اﻟﻜﺒﯿﺮ أﻧﻄﻮﻧﻲ ﻛﻮﯾﻦ

ﺗﺪور ﻗﺼﺔ اﻟﻔﯿﻠﻢ ﺣﺴﺐ ﻣﺎ ﺟﺎء ﻓﻲ ﻣﻠﺨﺼﮫ ﺣﻮل " ﺟﯿﻠﺴﻮﻣﯿﻨﺎ اﻟﻠﻘﯿﻄﺔ اﻟﺘﻲ ﺑﺎﻋﺘﮭﺎ أﻣﮭﺎ ﺑﻤﺒﻠﻎ زھﯿﺪ وﺑﻌﺾ اﻟﺴﻠﻊ اﻟﻐﺬاﺋﯿﺔ إﻟﻰ ﺣﺎ ٍو ﻣﺘﺠﻮل ﻋﻠﻰ اﻟﻄﺮﯾﻖ ﯾﺪﻋﻰ زاﻣﺒﺎﻧﻮ، واﻟﺬي ﯾﻘﺪم ﻋﺮوﺿﮫ ﻓﻲ ﻣﯿﺎدﯾﻦ اﻟﻘﺮﯾﺔ، ﺣﯿﺚ ﯾﻘﻮم اﻟﻤﺘﻔﺮﺟﻮن ﺑﺘﻘﯿﯿﺪه ﺑﺴﻠﺴﻠﺔ ﺣﺪﯾﺪﯾﺔ وﯾﺤﺎول ھﻮ ﻓﻜﮭﺎ، وأﺻﺒﺤﺖ ﺗﺴﺎﻋﺪه ﺟﯿﻠﺴﻮﻣﯿﻨﺎ ﻓﻲ اﻟﻌﺮض، ﻟﻜﻨﮫ ﯾﻌﺎﻣﻠﮭﺎ ﺑﺴﻮء وﻗﺴﻮة، وﺣﯿﻨﻤﺎ ﺗﺤﺎول ." اﻟﮭﺮب ﯾﻀﺮﺑﮭﺎ. ﯾﻨﻀﻢ زاﻣﺒﺎﻧﻮ إﻟﻰ ﺳﯿﺮك ﺻﻐﯿﺮ ﻣﺘﻨﻘﻞ، ﺣﯿﺚ ﯾﻠﺘﻘﯿﺎن ﻣﻊ ﺑﻠﯿﺎﺗﺸﻮ اﻟﻤﻀﺤﻚ، واﻟﺬي ﯾﻨﺒﮫ ﺟﯿﻠﺴﻮﻣﯿﻨﺎ ﻷھﻤﯿﺔ ﺗﺤﺪﯾﺪ اﺧﺘﯿﺎراﺗﮭﺎ، ﺣﯿﺚ ﯾﺒﺪو أﻧﮫ ﻗﺪ وﻗﻊ ﻓﻲ ﺣﺒﮭﺎ ﺷﺎرك اﻟﻔﯿﻠﻢ ﻓﻲ اﻟﻌﺪﯾﺪ ﻣﻦ اﻟﻤﮭﺮﺟﺎﻧﺎت واﻟﻔﻌﺎﻟﯿﺎت اﻟﺴﯿﻨﻤﺎﺋﯿﺔ اﻟﻌﺎﻟﻤﯿﺔ وﻗﺘﮭﺎ، وﺣﺼﺪ اﻟﻌﺪﯾﺪ ﻣﻦ اﻟﺠﻮاﺋﺰ اﻟﻤﮭﻤﺔ أﺑﺮزھﺎ؛ أوﺳﻜﺎر أﻓﻀﻞ ﻓﯿﻠﻢ أﺟﻨﺒﻲ، ﻧﺎھﯿﻚ ﻋﻦ اﻟﻨﺠﺎح اﻟﺠﻤﺎھﯿﺮي واﻟﻨﻘﺪي . اﻟﺬي ﺣﻘﻘﮫ ﺑﻌﺪ أن ﺗﺤﻮﻟﺖ أﺳﻤﺎء ﺷﺨﺼﯿﺎت اﻟﻔﯿﻠﻢ إﻟﻰ ﻋﻼﻣﺎت ﺗﺠﺎرﯾﺔ وﺻﻨﺎﻋﯿﺔ .اﻟﺤﯿﺎة ﺣﻠﻮة".. ﺗﺤﻔﺔ ﻓﯿﺪرﯾﻜﻮ اﻟﻌﺒﻘﺮﯾﺔ " ﺑﻌﺪ اﻟﻨﺠﺎح اﻟﺮھﯿﺐ اﻟﺬي ﺣﻘﻘﮫ ﻓﯿﻠﻢ " اﻟﻄﺮﯾﻖ " ، أﺧﺮج ﻓﯿﺪرﯾﻜﻮ ﻓﯿﻠﻢ " اﻟﻤﺤﺘﺎﻟﻮن "1955 ، وﺑﻌﺪه ﺑﺴﻨﺘﯿﻦ ﻓﯿﻠﻢ " ﻟﯿﺎﻟﻲ ﻛﺎﺑﯿﺮﯾﺎ "1957 ، وﺣﻘﻖ اﻟﻔﯿﻠﻤﺎن أﯾﻀﺎ ﻧﺠﺎﺣﮭﻤﺎ، وأﺛﺒﺖ ﻣﺮة أﺧﺮى ﺑﺄﻧﮫ ﻣﺨﺮج ﻣﻘﺘﺪر، ﻟﯿﺄﺗﻲ ﺑﻌﺪھﺎ ﻓﯿﻠﻤﮫ اﻟﺘﺤﻔﺔ " اﻟﺤﯿﺎة ﺣﻠﻮة "1960 ، ﻟﯿﻘﻮل ﻣﻦ ﺧﻼﻟﮫ ﻟﻠﻌﺎﻟﻢ ﺑﺄﻧﮫ ﺗﻌﺪى ﺻﻔﺔ اﻟﻤﺨﺮج اﻟﻌﺎدي ودﺧﻞ إﻟﻰ ﺧﺎﻧﺔ اﻟﻌﺒﻘﺮﯾﺔ، وأن ﻧﺠﺎح ﻓﯿﻠﻢ " اﻟﻄﺮﯾﻖ " . ﻟﻢ ﯾﻜﻦ ﺻﺪﻓﺔ، واﻟﺪﻟﯿﻞ ﻣﺎ أﺗﻰ ﺑﻌﺪه وﺛﺒّﺘﮫ ﻓﻲ ھﺬا اﻟﻔﯿﻠﻢ وﺗﺪور أﺣﺪاث ﻓﯿﻠﻢ "اﻟﺤﯿﺎة ﺣﻠﻮة" ﺣﺴﺐ ﻣﺎ ﺟﺎء ﻓﻲ ﻣﻠﺨﺼﮫ "ﺣﻮل (ﻣﺎرﺳﯿﻠﻮ) اﻟﺼﺤﻔﻲ اﻟﺬي ﯾﻜﺎﻓﺢ ﻣﻦ أﺟﻞ إﺛﺒﺎت ﻣﻜﺎﻧﮫ ﻓﻲ ھﺬا اﻟﻌﺎﻟﻢ، ﻓﮭﻮ ﻣﺸﺘﺖ ﺑﯿﻦ اﻟﺼﻮرة اﻻﺟﺘﻤﺎﻋﯿﺔ اﻟﺮاﻗﯿﺔ اﻷﺧﺎذة ﻟﻄﺒﻘﺔ اﻟﻨُﺨﺒﺔ ﻓﻲ ﻣﺠﺘﻤﻊ روﻣﺎ، وﺑﯿﻦ اﻟﻌﻼﻗﺔ اﻟﻤﺘﻮﺗﺮة اﻟﺘﻲ ﺗﺸﺎرﻛﮫ إﯾﺎھﺎ ﺻﺪﯾﻘﺘﮫ وﻣﺤﺒﻮﺑﺘﮫ، ﻛﻞ ھﺬا ﺑﯿﻨﻤﺎ ﯾﺤﺎول ﻗﻄﻊ ﺳﺒﯿﻠﮫ ﻟﯿﺼﺒﺢ ﻛﺎﺗﺒًﺎ ﻧﺎﺟ ًﺤﺎ، ﻓﯿﻘﻮم ﻓﻲ رﺣﻠﺔ ﺳﻌﯿﮫ ﺗﻠﻚ ."ﺑﺎﻟﻌﺪﯾﺪ ﻣﻦ اﻟﻠﻘﺎءات اﻟﯿﻮﻣﯿﺔ واﻟﻤﻘﺎﺑﻼت، ﻟﯿﻠﺘﻘﻲ ﺧﻼل إﺣﺪى ﺟﻮﻻﺗﮫ ﺑﺈﺣﺪى اﻟﻔﺘﯿﺎت اﻟﻌﺎھﺮات، واﻟﺘﻲ ﺗُﺤﺪث ﺗﻐﯿﺮات ﻛﺒﯿﺮة ﻓﻲ ﺣﯿﺎﺗﮫ، ﻣﻨﮭﺎ اﻟﺘﺴﺒﺐ ﺑﺎﻧﺘﺤﺎر ﺻﺪﯾﻘﺘﮫ ﺷﺎرك ﻓﻲ ﻛﺘﺎﺑﺔ ﺳﯿﻨﺎرﯾﻮ اﻟﻔﯿﻠﻢ اﻟﻤﺨﺮج واﻟﻜﺎﺗﺐ اﻹﯾﻄﺎﻟﻲ اﻟﻜﺒﯿﺮ ﺑﯿﺮ ﺑﺎوﻟﻮ ﺑﺎزوﻟﯿﻨﻲ، وﻟﻌﺐ دور اﻟﺒﻄﻮﻟﺔ ﻓﯿﮫ ﻣﺎرﺳﯿﻠﻮ ﻣﺎﺳﺘﺮوﯾﺎﻧﻲ اﻟﺬي ﯾُﻌﺪ وﻗﺘﮭﺎ ﻧﺠﻢ إﯾﻄﺎﻟﯿﺎ اﻷول، وﻗﺎﺳﻤﺘﮫ اﻟﺒﻄﻮﻟﺔ اﻟﻤﻤﺜﻠﺔ أﻧﯿﺘﺎ أﻛﺒﺮج، وﺻﺎدﻓﺖ اﻟﻔﯿﻠﻢ اﻟﻌﺪﯾﺪ ﻣﻦ اﻟﻤﻄﺒّﺎت ﻗﺒﻞ إﺧﺮاﺟﮫ أھﻤﮭﺎ اﻧﺴﺤﺎب اﻟﻤﻨﺘﺞ دﯾﻨﻮ دو ﻟﻮراﻧﺘﯿﺲ ﻣﻦ اﻟﻔﯿﻠﻢ، وذﻟﻚ ﺑﻌﺪ أن رﻓﺾ ﻓﯿﺪﯾﺮﯾﻜﻮ طﻠﺒﮫ ﺑﺄن ﯾﻘﻮم اﻟﻤﻤﺜﻞ ﺑﻮل ﻧﯿﻮﻣﺎن . ﺑﻠﻌﺐ دور اﻟﺒﻄﻮﻟﺔ ﻣﻜﺎن ﻣﺎرﺳﯿﻠﻮ، ﻟﻜﻦ ﺑﻌﺪ اﻻﻧﺘﮭﺎء ﻣﻦ اﻟﻔﯿﻠﻢ، ُﻋﺮض وﺣﻘﻖ ﻧﺠﺎﺣﺎ ﻋﺎﻟﻤﯿﺎ ﺳﺎﺣﻘﺎ ﺑﻌﺪ اﻹﺷﺎدة اﻟﻌﺎﻟﻤﯿﺔ ﺑﮫ، وﺣﺼﻞ ﻋﻠﻰ " اﻟﺴﻌﻔﺔ اﻟﺬھﺒﯿﺔ " ﻣﻦ ﻣﮭﺮﺟﺎن ﻛﺎن اﻟﺴﯿﻨﻤﺎﺋﻲ .ﺗﺮﺷﯿﺢ ﻟﻸوﺳﻜﺎر 12 ﻣﺮة

أﺧﺮج ﺑﻌﺪھﺎ ﻓﯿﺪﯾﺮﻛﻮ اﻟﻌﺪﯾﺪ ﻣﻦ اﻷﻓﻼم، وﺣﻘﻖ ﻣﻌﻈﻤﮭﺎ -إن ﻟﻢ ﻧﻘﻞ ﻛﻠﮭﺎ- ﻧﺠﺎﺣﺎت ﻛﺒﯿﺮة، وﺧﻠﻘﺖ ﺣﻮﻟﮫ ﺻﺪى ﻋﺎﻟﻤﯿﺎ ﻟﻢ ﯾﻌﺮﻓﮫ أ ّي ﻣﺨﺮج إﯾﻄﺎﻟﻲ ﻗﺒﻠﮫ أو ﺑﻌﺪه، وﻗﺪ ُﻛﻠّﻠﺖ ﻣﺴﯿﺮﺗﮫ ﺑﻘﺎﺋﻤﺔ طﻮﯾﻠﺔ ﻣﻦ اﻟﻨﺠﺎﺣﺎت واﻟﺠﻮاﺋﺰ، ﻣﻦ ﺑﯿﻨﮭﺎ ﺗﺮﺷﺤﮫ 12 ﻣﺮة ﻟﻸوﺳﻜﺎر ﻣﻨﺬ ﻓﯿﻠﻤﮫ اﻷول " ﻣﺪﯾﻨﺔ ﻣﻔﺘﻮﺣﺔ " ، وﺣﺘﻰ " ﻛﺎزاﻧﻮﻓﺎ ﻓﯿﻠﻠﯿﻨﻲ" ﻓﻲ 1976، ﻛﻤﺎ ﻓﺎزت أرﺑﻌﺔ ﻣﻦ أﻓﻼﻣﮫ ﺑﺠﺎﺋﺰة ." اﻷوﺳﻜﺎر ﻷﻓﻀﻞ ﻓﯿﻠﻢ أﺟﻨﺒﻲ، وھﻲ " اﻟﻄﺮﯾﻖ " و " ﻟﯿﺎﻟﻲ ﻛﺎﺑﺮﯾﺎ " و " ﺛﻤﺎﻧﯿﺔ وﻧﺼﻒ " و " أﻣﺎرﻛﻮرد وﻓﻲ ﻣﺎرس/آذار 1993 ﺗﻠﻘﻰ ﺗﻜﺮﯾﻤﺎ ﻣﻦ اﻷﻛﺎدﯾﻤﯿﺔ ﻋﻠﻰ ﻣﺠﻤﻞ أﻋﻤﺎﻟﮫ وإﻧﺠﺎزاﺗﮫ اﻟﺴﯿﻨﻤﺎﺋﯿﺔ، وھﺬا اﻋﺘﺮاف ﻣﻨﮭﺎ ﺑﻌﺒﻘﺮﯾﺔ ھﺬا اﻟﻤﺨﺮج، وھﻲ اﻟﺴﻨﺔ اﻟﺘﻲ ﺗﻮﻓﻲ ﻓﯿﮭﺎ. وﻛﺎن ﯾﻘﻮل داﺋﻤﺎ " إذا ﻛﻨﺖ أﻋﺮف ﺷﯿﺌﺎً، ﻓﺈﻧﻨﻲ أﻋﺮف أﻧﻨﻲ ﻻ ﯾﻤﻜﻦ أن أﻛﻮن ﺷﺨﺼﺎً آﺧﺮ، ﻛﻞ إﻧﺴﺎن ﯾﻌﯿﺶ ﻓﻲ ﻋﺎﻟﻤﮫ اﻟﻤﺘﺨﯿﱠﻞ، ﻟﻜﻦ ﻣﻌﻈﻢ اﻟﻨﺎس ﻻ ﯾَﻌُﻮن ذﻟﻚ، ﻻ أﺣﺪ ﯾﺪرك ﻋﺎﻟﻢ اﻟﻮاﻗﻊ، وﻛﻞ واﺣﺪ ﯾﻌﺘﺒﺮ ﺑﺄن ."ﺗﺨﯿﻼﺗﮫ اﻟﺸﺨﺼﯿﺔ ھﻲ اﻟﺤﻘﯿﻘﺔ، اﻟﻔﺮق ﺑﯿﻦ اﻵﺧﺮﯾﻦ وﺑﯿﻨﻲ ھﻲ أﻧﻨﻲ أﻋﺮف ﺑﺄﻧﻨﻲ أﻋﯿﺶ ﻓﻲ ﻋﺎﻟﻢ ﻣﺘﺨﯿﱠﻞ، وأﻓﻀﻠﮫ ﻋﻠﻰ ھﺬا اﻟﻨﺤﻮ، وأﺳﺘﺎء ﻣﻦ أ ّي ﺷﻲء ﯾﺸ ِّﻮش رؤﯾﺎي Federico Fellini. Our editors will review what you’ve submitted and determine whether to revise the article. Federico Fellini , (born January 20, 1920, Rimini, Italy—died October 31, 1993, Rome), Italian film director who was one of the most celebrated and singular filmmakers of the period after World War II. Influenced early in his career by the Neorealist movement, he developed his own distinctive methods that superimposed dreamlike or hallucinatory imagery upon ordinary situations. He added vastly to the vocabulary of the cinema and pioneered a personal style of filmmaking now integral to its practice. Early life and influences. The son of a traveling salesman who sold foodstuffs and a mother who believed that, in marrying beneath her, she betrayed her links to Roman nobility, Fellini grew up believing he belonged in Rome. In the late 1930s he moved there with his mother and brother. Only Federico stayed on, however, surviving by selling cartoons, gags, and stories to the humour magazine Marc’Aurelio . During World War II Fellini wrote scripts for the radio serial Cico e Pallina , starring Giulietta Masina, who became his wife in 1943 and who appeared in several of his films during an often troubled 50-year marriage. In 1944 Fellini met director Roberto Rossellini and became one of a team of writers for Roma, città aperta (1945; Open City or Rome, Open City ), a pioneer film of Neorealism. Fellini’s contribution to the screenplay earned him his first Oscar nomination. Fellini quickly became one of Italy’s most successful screenwriters. He collaborated on screenplays for such directors as ( Il cammino della speranza [1950; The ]), Alberto Lattuada ( Senza pietà [1948; Without Pity ]), and Luigi Comencini ( Persiane chiuse [1951; Behind Closed Shutters ]); he was uncredited on the latter film. In addition, Fellini contributed to Rossellini’s Paisà (1946; Paisan ) and Il miracolo (1948; “ The Miracle”, an episode of the film L’amore ), in which he also acted, playing a tramp who impregnates a simple-minded peasant when she takes him for the reincarnation of St. Joseph. Fellini’s quest for a more personal style, which often verged on the fantastic, alienated Neorealist purists. His directorial debut, Luci del varietà (1950; Variety Lights ), made in collaboration with Lattuada, is set in a traveling variety show. An enthusiast of the seedy side of show business, in particular vaudeville and the circus, Fellini returned to this milieu repeatedly, beginning with his first independent feature, Lo sceicco bianco (1952; The White Sheik ), a satire on the fumetti (photographic comic strips) and their fanatical fans. However, his first critical and commercial success, I vitelloni (1953; Spivs or The Young and the Passionate ), exhibited little fantasy. Based on his own adolescence in Rimini, it faithfully reflects the boredom of provincial life, which drove him to Rome. Major works. With La strada (1954; “The Road”), Fellini returned to the world of showmen. It starred Anthony Quinn as Zampanò, a brutish but phoney itinerant "strong man," and Masina as the waif who loves him. The film was shot on desolate locations between Viterbo and Abruzzi, mean villages and flinty roads that were intended to reflect the moral aridity of Quinn’s character, throwing into relief the sweet, forgiving nature of Masina’s Gelsomina. A commercial success, La strada won an Academy Award for best foreign film, and Nino Rota’s plaintive theme song became a hit. Producers offered to feature Masina as Gelsomina in a sequel, but Fellini instead gave her a small role only in the cynical Il bidone (1955; “The Swindle”), which featured Broderick Crawford as the leader of a gang of con men who impersonate priests in order to rob the peasantry. Masina asserted her star quality in Le notti di Cabiria (1957; Nights of Cabiria ), developing the minor character she played in Lo sceicco bianco , a good- natured Roman prostitute who is optimistic even when humiliated and is swindled by the man she expects to marry. One of Fellini’s most likeable films, it won an Oscar for best foreign film and inspired the 1966 Broadway musical comedy Sweet Charity and the 1969 movie of the same name. La dolce vita (1960; “The Sweet Life”) was the first of many collaborations with Marcello Mastroianni, an actor who came to represent Fellini’s alter ego. Inspired by newspaper headlines and some topical scandals, the film comprehensively indicts a Rome dominated by foreign movie stars, corrupt journalists, and decadent aristocrats. Condemned by the Roman Catholic Church but hailed by the public, La dolce vita contributed the word paparazzo (unscrupulous yellow-press photographer) to the English language and the adjective Felliniesque to the lexicon of film critics. He then made his first foray in colour, directing the segment Le tentazioni del dottor Antonio (“The Temptation of Dr. Antonio”) for the omnibus feature Boccaccio ’70 (1962). Otto e mezzo (1963; 8 1 / 2 ) is among Fellini’s most widely praised films and earned the director his third Oscar for best foreign film. Entitled 8 1 / 2 for the number of films Fellini had made by that time (seven features and two shorts), it shows a famous director (based on Fellini and portrayed by Mastroianni) in creative paralysis. Harried by argumentative screenwriters, importunate actresses, a terse unloving wife, and his brainless giggling girlfriend, he takes refuge in fantasies of childhood and the dream of a perfect, and therefore unattainable, woman, embodied in Claudia Cardinale. In 1965 Fellini’s health failed as he prepared what would have been his most personal work, The Journey of G. Mastorna , a dreamlike vision of the afterlife, starring Mastroianni. Forced to abandon the project, he fortuitously found an alternative outlet for his fantasies in colour. Technology placed in Fellini’s hands the tools to realize the visions that until then existed only in his dreams: “I close my eyes,” he wrote of his nocturnal imaginings, “and the festival starts.” His notebooks recording those dreams, lavishly illustrated, became his raw material. He embraced fantasy even more enthusiastically in Giulietta degli spiriti (1965: Juliet of the Spirits ), with Masina as a simple bourgeois haunted by the supernatural. JulietNow established as an international talent, Fellini addressed the myths of Rome, employing an insight into the unconscious gained through study of his preferred psychoanalytical theorist, Carl Jung. Distributors incorporated Fellini’s name in the films’ titles, signifying the unique nature of his vision. Although technically inspired by Roman writers Gaius Petronius Arbiter and Lucius Apuleius, Fellini Satyricon (1969), promoted with the slogan “Before Christ. After Fellini,” actually celebrated the hippie movement, which he first encountered in the United States. Two aimless young bisexual men wander a morally and physically decaying world of casual decadence, rendered in the gaudy colours that until then had never been associated with antiquity. White marble gave way to crumbling stucco, bawdy graffiti, and urban filth. Sexually ambivalent in his private life, Fellini revealed in Satyricon a preoccupation with obesity, mutilation, and hermaphroditism that many found disturbing. Disappointingly, he never realized his hope of casting both Groucho Marx and Mae West in the film. In Roma (1972; Fellini’s Roma ), the director applied the tools of fantasy to the national capital, alternating episodes of the modern hippie occupation of its monuments with his teenage visits to its brothels and the excavations that uncover what remains of the ancient city. An “ecclesiastical fashion show” controversially mocks the Vatican that consistently condemned his films. For Amarcord (1973), which won Fellini a fourth Oscar for best foreign film, he re-created wartime Rimini in Rome’s Cinecittà studios for a nostalgic remembrance of adolescence under fascism, which restored the eccentricity of his early life that had been omitted from I Vitelloni . Though audiences took the film to be autobiographical, most of its incidents came from the more flamboyant life of a childhood friend. Federico Fellini. Federico Fellini was born and raised in Italy in 1920, where he imaginatively played as a child and also grew up under the dictatorship of Benito Mussolini. He bounced around various careers in his late teens and early 20s before eventually finding his way into the world of film. His earliest works were on screenplays for films such as "Knights of the Desert" (1942) and "Rome, Open City" (1945), the latter of which earned him his first taste of the Academy Awards with a nomination for Best Original Screenplay. While writing was his first fascination, he worked his way behind the camera, making his directorial debut with the Italian comedy "Variety Lights" (1950), though the film was poorly received. His second film "The White Sheik" (1952) had an incrementally better reception when released, but still wasn't beloved. "I Vitelloni" (1953) was his first success and also his first internationally distributed film. That paved the way for his inventive and influential true breakthrough "La Strada" (1954), which was the inaugural winner for the Best Foreign Film Oscar. The film was also Fellini's first brushes with both depression and chaotic filming, as he had a breakdown during the filming of "La Strada." Still, in spite of any personal troubles, Fellini's groundbreaking Italian films reached a level of international critical acclaim. He won gobs of awards for the controversial "La Dolce Vita" (1960), Jung-influenced "8 1/2" (1963), and ambitious fantasy "Satyricon" (1969). His frenetic pace started to slow as he moved into his 50s and 60s, but he still produced compelling works, including the loosely autobiographical drama "Amarcord" (1974) and the biopic "Casanova" (1976). His final film was the Roberto Benigni-starring "" (1990), though it never saw an American release. In 1993, months after receiving a Lifetime Achievement Award Oscar, Fellini died of complications from a heart attack. Photos. Filmography. Movies. Tomatometer® Audience Score Title Credit Box Office Year No Score Yet No Score Yet Giovanna Cau: Diversamente giovane Self - 2011 No Score Yet No Score Yet Fellini Narrates: A Discovered Self-Portrait Unknown (Character) - 2000 No Score Yet 61% The Voice of the Moon Director, Screenwriter - 1990 No Score Yet No Score Yet Bellissimo - A History of the Italian Cinema Unknown (Character) - 1987 75% 71% Intervista Self, Director, Writer - 1987 83% 81% Ginger and Fred Director, Writer $577.5K 1986 80% 83% And the Ship Sails On Director - 1983 68% 75% City of Women Director, Writer $6.2K 1980 88% 82% Orchestra Rehearsal Director, Writer - 1979 55% 80% Fellini's Casanova Director, Writer - 1976 87% 90% Amarcord Director, Writer - 1973 71% 82% Fellini's Roma Self, Director, Screenwriter - 1972 No Score Yet 32% Alex in Wonderland Unknown (Character) - 1970 100% 76% The Clowns Director - 1970 83% 73% Sweet Charity Screenwriter - 1969 No Score Yet 43% Fellini: A Director's Notebook Self, Director, Screenwriter - 1969 78% 75% Satyricon Director, Writer - 1969 No Score Yet No Score Yet Ciao Federico! Fellini Directs Satyricon Unknown (Character) - 1969 86% 65% Director - 1968 79% 85% Juliet of the Spirits Director, Writer $90.7K 1965 98% 92% 8 1/2 Director $50.7K 1963 50% 78% Boccaccio '70 Director - 1962 96% 90% La dolce vita Director, Writer - 1960 100% 94% Nights of Cabiria Director, Writer $820.7K 1957 100% 79% Il bidone Director - 1955 98% 93% The Road Director, Writer - 1954 No Score Yet No Score Yet Four Ways Out Writer - 1954 100% 90% The Young and the Passionate Director, Writer $97.9K 1953 No Score Yet 84% Love in the City Director - 1953 No Score Yet 43% The Brigand of Tacca del Lupo Writer - 1952 100% 75% The White Sheik Director, Writer $50.8K 1952 100% 71% Variety Lights Director - 1950 No Score Yet 50% Without Pity Screenwriter - 1948 No Score Yet 74% L'Amore The Stranger (Character), Writer - 1948 No Score Yet No Score Yet Bullet for Stefano Writer - 1947 100% 92% Open City Writer - 1945 No Score Yet No Score Yet Peddler and the Lady Writer - 1943. QUOTES FROM Federico Fellini CHARACTERS. No quotes approved yet. News & Interviews for. Writers’ Strike Halts Shantaram , Rob Marshall’s Nine. Fellini’s Viaggio a Tulum Filming in ’08. Josh Lucas, Kurt Russell, and Cast Discuss "Poseidon" Adventure. And the Ship Sails On. In 1914, a cruise ship sets sail from Naples to spread the ashes of beloved opera singer Edmea Tetua near Erimo, the isle of her birth. During the voyage, the eclectic array of passengers discovers a group of Serbian refugees aboard the vessel. Peace and camaraderie abound until the ship is descended upon by an Austrian flagship. The Serbians are forced to board it, but naturally they resist, igniting a skirmish that ends in destruction. Director. Producer. Writers. Editor. Cinematography. Production Design. Composer. Studios. Country. Language. Alternative Title. Et vogue le navire. Genres. 128 mins More details at IMDb TMDb Report this film. Popular reviews. This review may contain spoilers. I can handle the truth. It’s like the Titanic, but fun. Also this films ends a lot like Taste of Cherry but this time it actually made more sense. A really unique approach to class and elitism, Fellini’s And the Ship Sails On is a light hearted and stylistically brilliant critique of the bourgeoisie. I’ll admit there were large sections that really lost my interest or felt a little too indulgent, yet as the film ended I felt satisfied with it as a whole. 8.2 / 10. Criterion challenge #27. Watch a Fellini Film. Nice try, Fellini. You may have replaced the cast with human beings, but you can't fool me. I know a Muppets movie when I see one. Italian live action bourgeois Looney Toons. or Spongebob Squarepants, whichever suits you best. So much poetic beauty here. Fellini's early studies on decadence draw heavely from their specific moments as time passes he moved towards a more alegorical space. And the Ship Sails On does nothing to hide its actual subject matter, the end of aristrocatic Europe at the start of the great war, but it is very dependent on the ship as symbol, an imagined field for its tension to play up as large as possible right down to ending by going behind the curtain. A triumph of artifice as history. It is also a far more sorrowful film than his other work on this vain. Even the color are more muted. “Judging by his political competence, I'd say he's 8 years-old.” In a year saturated with so many “eat the rich” films this felt like such a breath of fresh air in its presentation. It’s really just a look at the bourgeois lifestyle and demonstrating its luxury and absurdity. The film really lets its satire speak for itself in this hilarious and profound way. Throughly entertaining. This review may contain spoilers. I can handle the truth. If last week’s film in the Classic/Lido Fellini retrospective, City of Women (1980), was his misfire, this week’s film is his undervalued masterpiece. I have only seen this film once before, on its 1985 Australian cinema release, and last night I realised that I had misremembered the final scene of the man with the rhinoceros in the rowboat - an image that I have seen pretty much every day since I bought a poster of the film with that image on it some time that year and have had it on my wall at home or at work ever since. This film is so different from anything else Fellini made. There is class satire, but it is reflective rather than savage or bitter.… ﺟﻤﯿﻞ ﻟﻤﺎ ﯾﻜﻮن ﻟﻠﻤﺨﺮج ﻣﺴﯿﺮة ﻣﻠﯿﺌﺔ ﺑﺎﻷﻋﻤﺎل اﻟﺠﻤﯿﻠﺔ اﻟﻲ ﻟﮭﺎ روﻧﻖ ﻋﺎﻟﻲ اﻏﻠﺐ اﻟﻤﺨﺮﺟﯿﻦ اﻟﺬﯾﻦ ﯾﻤﺘﻠﻜﻮن ھﺬه اﻟﻤﺴﯿﺮة اﻟﺮاﺋﻌﺔ ﻏﺎﻟﺒًﺎ اﻷﻋﻤﺎل اﻟﺘﻲ ﺻﻨﻌﻮھﺎ ﺗﻜﻮن ﻣﺘﺸﺎﺑﮫ ﻣﻦ ﻧﺎﺣﯿﺔ او اﺧﺮى او ﻗﺪ ﺗﻜﻮن ﻧﻮاﺣﻲ ﻋﺪة او ﻣﻦ اﻟﻤﻤﻜﻦ ﯾﻜﻮن اﺳﻠﻮب واﺣﺪ ﯾﺘﺒﻌﮫ اﻟﻤﺨﺮج ﺑﺠﻤﯿﻊ اﻋﻤﺎﻟﮫ ھﺬا ﺷﻲء اﺑﺪاً ﻣﺎﻓﯿﮫ اي ﻋﯿﺐ وﻻ ﻓﯿﮫ اي ﺗﻨﻘﯿﺺ ﻟﻠﻤﺨﺮج.. ﻟﻜﻦ اﻷﺟﻤﻞ و اﻷﻛﺜﺮ ﺗﻘﺪﯾ ًﺮا ﺑﺎﻟﻨﺴﺒﺔ ﻟﻲ ﻟﻤﺎ ﯾﻜﻮن ﻟﻠﻤﺨﺮج ﻣﺴﯿﺮة ﺑﺎﻷﻋﻤﺎل اﻟﺠﻤﯿﻠﺔ اﻟﻤﺘﻨﻮﻋﺔ اﻟﻤﺨﺘﻠﻔﺔ اﻟﺘﻲ ﺗﺜﺒﺖ ان اﻟﻤﺨﺮج ﻓﻌ ًﻼ ﺷﺨﺺ ﻣﺘﻤﻜﻦ ﻓﻨﯿﺎً .. اﺧﺮاﺟﯿﺎً و ﻓﻜﺮﯾﺎً ، ﻗﺎدر ان ﯾﻮاﻛﺐ ذاﺋﻘﺔ اﻟﺠﻤﯿﻊ ﻣﺮن ﻣﻦ …اﻟﻨﺎﺣﯿﺔ اﻹﺧﺮاﺟﯿﮫ ﯾﺠﺬب اﻟﻤﺸﺎھﺪ ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ اﻟﻤﺤﺘﻮى اﻟﺬي ﯾﻘﺪﻣﮫ ، ﻓﯿﻠﻠﯿﻨﻲ ﯾﺠﻤﻊ ﺑﯿﻦ اﻻﺛﻨﯿﻦ ھﻮ ﻟﮫ اﺳﻠﻮب ﻣﻌﯿﻦ و اﯾﻀﺎ ﯾﻤﺘﻠﻚ اﻟﻘﺪرة و اﻟﻤﺮوﻧﺔ ﻋﻠﻰ اﻟﺘﻨﻮﯾﻊ ﺑﺄﻋﻤﺎﻟﮫ ، ﻓﻲ Se houve sempre um lado melodramático em Fellini, o universo privilegiado dele - a que muito impropriamente se pode associar “o musical” - só apareceu na sua obra relativamente tarde, mais concretamente a partir de Prova d’Orchestra (1978). E foi sublinhado, com todo o excesso felliniano, com toda a exacerbação felliniana, em dois dos seus últimos filmes: E La Nave Va e Ginger e Fred, no primeiro convocando-se o mundo da ópera e no segundo a comédia musical americana dos anos 30. Curiosamente, este específico melodramatismo está nos antípodas da tradição ilustre que, oriunda de Visconti, contaminou quase todos os cineastas italianos que emergiram nos anos 60, sobretudo Bertollucci e Bellochio. Ao contrário destes, que o utilizaram para acentuar molduras… As political satirical comedies go, Fellini’s underrated final masterpiece: And The Ship Sails On is an odd one. The film focuses on a group of pre World War I bourgeois opera singers as they go about their privileged lifestyle on a cruise ship. A cruise ship destined for the funeral of a well renowned opera singer. The film focuses on many aspects of this strange and unusual premise, but as Fellini is a masterful and imaginative director, he is able to balance the absurd with the impossible rather playfully and with the poignant touch of his well established unique style. At this point in Fellini’s career, his films became somewhat similar to Wes Andersons, in a sense that they all… I want to learn how to hypnotize chickens. I've come to terms with the fact that Fellini really doesn't care for narrative, drama, depth, or characters. He's a showman whose visual imagination thrives on bells and whistles, artifice and excess, doing what pleases him even if it means leaving his audience behind. He's a director of individual scenes and grand gestures, most of which work best in the omnibus tradition. Almost invariably when he moves beyond 60 minutes, his style strains, his pace bores, and his vision becomes unnecessarily muddled. To his credit, Fellini cares far more about the journey than the destination. He wants to dazzle you in the moment with glorious set pieces and spectacular visuals, even if he doesn't know where he's going or what… Less a comment about the film itself but more about the restoration available on the Criterion Channel - but the available copy of this just looks so dreadful, and it's clearly detrimental in this film's case when a lot of it is so gorgeously crafted, as one could ever expect from a film by Federico Fellini. But on the whole, And the Ship Sails On is still playful, just as Fellini can be at his best - though it lacks the same sort of edge that was present in many of his best films within this period, whether it's Amarcord or Roma . That's not to say this film doesn't have its moments, but it's easy to tell where this film peaks and where it falters. Might just need to give this another viewing if a proper restoration is made available somehow.