FEDERICO FELLINI - COMPLETE FILMOGRAPHY It has been quite the treasure hunt, after many months of extensive searching I have finally managed to compile the complete filmography of Federico Fellini. All films are complete with English subtitles, except "Block notes di un regista", which has English audio most of the time. As an added bonus, I've also included the documentary "Fellini: I'm a Born Liar" by Damian Pettigrew. Files are sorted in chronological order and labeled with English and Italian titles, as well as year of original release. Thank you for spreading this gem of modern culture. Please buy these films if you like them, many of them are available on DVD worldwide. Cheers! ??? alimony ------------------------------------------------------------------------------ FEDERICO FELLINI 1920 ??? 1993 The women who both attracted and frightened him and an Italy dominated in his youth by Mussolini and Pope Pius XII - inspired the dreams that Fellini started recording in notebooks in the 1960s. Life and dreams were raw material for his films. His native Rimini and characters like Saraghina (the devil herself said the priests who ran his school) - and the Gambettola farmhouse of his paternal grandmother would be remembered in several films. His traveling salesman father Urbano Fellini showed up in Dolce vita, La (1960) and 8?? (1963). His mother Ida Barbiani was from Rome and accompanied him there in 1939. He enrolled in the University of Rome. Intrigued by the image of reporters in American films, he tried out the real life role of journalist and caught the attention of several editors with his caricatures and cartoons and then started submitting articles. Several articles were recycled into a radio series about newlyweds "Cico and Pallina". Pallina was played by acting student Giulietta Masina, who became his real life wife from October 30, 1943, until his death half a century later. The young Fellini loved vaudeville and was befriended in 1940 by leading comedian Aldo Fabrizi. Roberto Rossellini wanted Fabrizi to play Don Pietro in Roma, citt?? aperta (1945) and made the contact through Fellini. Fellini worked on that film's script and is on the credits for Rosselini's Pais?? (1946). On that film he wandered into the editing room, started observing how Italian films were made (a lot like the old silent films with an emphasis on visual effects, dialogue dubbed in later). Fellini in his mid-20s had found his life's work. ------------------------------------------------------------------------------ FILMOGRAPHY Variety Lights (Luci del variet??, 1950) Variety Lights is a bittersweet drama about a group of second-rate theatrical performers on tour. The actors, dancers, and performers struggle to make money from town to town, playing to minimal crowds, while the aging manager of the company falls in love with a newcomer, to the chagrin of his faithful mistress, played by Fellini's real-life wife, Giulietta Masina. The White Sheik (Lo Sceicco Bianco, 1952) Ivan Cavalli (Leopoldo Trieste) brings his new wife Wanda (Brunella Bovo) to Rome on the least romantic honeymoon in history a rigid schedule of family meetings and audiences with the Pope. But Wanda dreaming of the dashing hero of a photo-strip cartoon drifts off in search of the White Sheik thus setting off a slapstick comedy worthy of Chaplin. The style and themes which made Federico Fellini world famous are already apparent in this charming comedy (his first solo directorial effort) featuring such long-time collaborators as his wife actress Giulietta Masina and composer Nino Rota. Marriage Agency (Agenzia matrimoniale, 1953) from the portmanteau film Love in the City (L'amore in citt??) A young journalist visits a matrimonial service, looking for a wife for his rich friend who suffers from a strange condition. I Vitelloni (1953) Five young men linger in post-adolescent limbo dreaming of adventure and escape from their small seacoast town. They while away their time spending the lira doled out by their indulgent families on drink, women, and nights at the local pool hall. Federico Fellini???s second solo directorial effort (originally released in the U.S. as The Young and the Passionate) is a semi-autobiographical masterpiece of sharply drawn character sketches: Skirt-chaser Fausto, forced to marry a girl he has impregnated; Alberto, the perpetual child; Leopoldo, a writer, thirsting for fame; and Moraldo, the only member of the group troubled by a moral conscience. An international success and recipient of an Academy Award?? nomination for Best Original Screenplay, I Vitelloni compassionately details a year in the life of small-town layabouts struggling to find meaning in their lives. La Strada (1954) There has never been a face quite like that of Giulietta Masina. Her husband, the legendary Federico Fellini, directs her as Gelsomina in La Strada, the film that launched them both to international stardom. Gelsomina is sold by her mother into the employ of Zampan?? (Anthony Quinn), a brutal strongman. When Zampan?? encounters an old rival in highwire artist the Fool (Richard Basehart), his fury is provoked to its breaking point. With La Strada, Fellini left behind the familiar signposts of Italian neorealism for a poetic fable of love and cruelty, evoking brilliant performances and winning the hearts of audiences and critics worldwide. The Swindlers (Il Bidone, 1955) Aging small-time con man Augusto, who swindles peasants, works with two younger men: Roberto, who wants to become the Italian Johnny Ray, and Bruno, nicknamed Picasso, who has a wife and daughter and wants to paint. Augusto avoids the personal entanglements, spending money at clubs seeking the good life. His attitude changes when he runs into his own daughter, whom he rarely sees, and realizes she's now a young woman and in need of his help to continue her studies. His usual partners are away, so he goes in with others to run a swindle, and they aren't forgiving when he claims he's given the money back to their mark. They leave him beaten, robbed, and alone. Nights of Cabiria (Le Notti di Cabiria, 1957) A year after his international breakthrough film La Strada, Federico Fellini and his leading lady/wife Giulietta Masina collaborated on another masterpiece, a magical mix of neorealism and romantic optimism set on the streets of Rome. Masina's moon-faced and bright-eyed Cabiria is a passionate streetwalker with a heart as big as Italy and the emotional spontaneity of a child, a woman with a hearty passion for life whose constant weakness is falling in love with mercenary creeps. For a couple of hours we share the dreams and disillusionments of Cabiria as she rattles around Rome before once again losing her heart. The bittersweet heartbreak is tempered with a soaring celebration of the human spirit: no other Fellini film offers such honest hope in the face of such bitter devastation. Fellini left the poor and the working class to revel in the decadence of Rome's high society for his next film, La Dolce Vita, a film that could have sprung from Cabiria's hilarious chance interlude with a matinee idol (played by Amedeo Nazzari). Rambling and leisurely paced, Nights of Cabiria is a sweet film of warmth and simple grace. It became the basis of Neil Simon's American musical Sweet Charity, with Shirley Maclaine taking Masina's role in Bob Fosse's film version. La Dolce Vita (1960) At three brief hours, La Dolce Vita, a piece of cynical, engrossing social commentary, stands as Federico Fellini's timeless masterpiece. A rich, detailed panorama of Rome's modern decadence and sophisticated immorality, the film is episodic in structure but held tightly in focus by the wandering protagonist through whom we witness the sordid action. Marcello Rubini (extraordinarily played by Marcello Mastroianni) is a tabloid reporter trapped in a shallow high-society existence. A man of paradoxical emotional juxtapositions (cool but tortured, sexy but impotent), he dreams about writing something important but remains seduced by the money and prestige that accompany his shallow position. He romanticizes finding true love but acts unfazed upon finding that his girlfriend has taken an overdose of sleeping pills. Instead, he engages in an m??nage ?? trois, then frolics in a fountain with a giggling American starlet (bombshell Anita Ekberg), and in the film's unforgettably inspired finale, attends a wild orgy that ends, symbolically, with its participants finding a rotting sea animal while wandering the beach at dawn. Fellini saw his film as life affirming (thus its title, The Sweet Life), but it's impossible to take him seriously. While Mastroianni drifts from one worldly pleasure to another, be it sex, drink, glamorous parties, or rich foods, they are presented, through his detached eyes, are merely momentary distractions. His existence, an endless series of wild evenings and lonely mornings, is ultimately soulless and facile. Because he lacks the courage to change, Mastroianni is left with no alternative but to wearily accept and enjoy this "sweet" life. The Temptation of Dr. Antonio (Le tentazioni del dottor Antonio, 1962) from the portmanteau film Boccaccio '70 The Temptation of Dr. Antonio, is fantastical and big-scaled. It tells of a censorious bluenose (Peppino de Filippo) who becomes incensed at the presence of a billboard featuring a sexy portrait of Anita Ekberg (selling milk) -- a portrait that comes to life. For this bizarre escapade, Nino Rota composed an advertising jingle that will stick in your mind whether you want it to or not. 8?? (1963) Federico Fellini's 1963 semi-autobi...
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