The fall of the Roman Empire 1931-1972.
A virtually plotless, gaudy, impressionistic portrait of Rome through the eyes of one of its most famous citizens.
A virtually plotless, gaudy, impressionistic portrait of Rome through the eyes of one of its most famous citizens.
Peter Gonzales Falcon Fiona Florence Pia De Doses Marne Maitland Renato Giovannoli Elisa Mainardi Norma Giacchero Stefano Mayore Galliano Sbarra Anna Magnani Ginette Marcelle Bron Gore Vidal Feodor Chaliapin Jr. Dennis Christopher Franco Citti Federico Fellini Eleonora Giorgi Alberto Sordi Alvaro Vitali
"You never have to jerk off; that's what's nice about Rome."
Though his previous film (The Clowns) had been a relative disappointment for Federico Fellini both critically and with audiences, the early-1970s still represented a period of international ascendancy for the Italian maestro. This outpouring of veneration would reach its zenith with 1973's Amarcord, a series of bawdy episodes depicting Fellini's early years in the provinces during the nascent era of Italian fascism. But just before Amarcord Fellini would first tackle Roma, a love poem to his adopted home whose depiction in La Dolce Vita had made him a household name a dozen years prior. Like Amarcord it is structured in vignettes, though Roma is an altogether more experimental film—merging…
He directed a fine number of bona fide classics (I would need two hands to count them), but his essay-mosaic, part drama / part documentary / part dreamscape Fellini's Roma is the only one of them that I crave watching repeatedly. You can call it my favorite of his.
Through the course of a dozen or so vignettes, Fellini pores over the good, the bad, the ostentatious -- key example of that is a Vatican fashion show where the costumes at get bigger and bigger, then more glittery and blindingly glittery. How could these costumes possibly get any more pompous, you wonder, as it goes on and on up until the climax of the scene: We have a top (!),…
Monument versus motion appears to be a central theme to Federico Fellini’s Roma, an abstract homage to the city itself that contains characteristically semi-autobiographical and self-deprecating elements in its amorphous narrative and episodic structure. More of a highly-personal, coming-of-age vision of the Eternal City than anything as directly self-referential as his more lauded works like 8 ½ or La Dolce Vita, Rome in all its contradictory glory is the true star of this endearingly bizarre, encoded love letter. Though I’ve only seen 3 ½ Fellini films, I’m not prepared to say it isn’t my favorite of them so far—while still exemplifying hallmarks of grotesquerie and hyperbole, Fellini also manages to flesh out his relationship to Rome and its identity as…
Fellini's "Roma" is a homage to the city the director dreamed of as a boy, discovered as a youth, and experienced fully in a lifetime of filmmaking. It is at once a history and a fiction, a tribute and a rebuke, a love story and a tragedy. For Rome to Fellini is not one city, but the city, "The Eternal City," for better and for worse.
Here we see scenes of Fellini as a child (Stefano Mayore), growing up in the country and learning of Rome through books, lectures, slide shows at school and the idle chatter of adults. He goes to the cinema and sees how ancient Rome is portrayed in silent moving pictures, and he imagines going there…
Federico Fellini's Roma sees the authoritative Italian director turning his cameras on Rome to deliver an impressionistic and dazzling portrayal of Italy's capital city: the Eternal City. Based on the director's life during the Mussolini years, the comedy-drama features a loose, nonlinear structure where the ever-shifting vignettes evolve in some measure into a travelogue designed by relentless recollections and myth.
It features a scarcity of the coherence that differentiates Fellini's more distinguished work such as La Dolce Vita or 8½, and more like a continuance of his visualisations from Satyricon. Through an unrestrained and periodically turbulent succession of scenes, the filmmaker inevitably puts together some visionary, extraordinary, and yes, self-indulgent moments during the films two-hour-plus runtime.
The director offering up…
Honestly it seems Fellini’s more surreal and abstract films are hit or miss for me. The main differentiator seems to be whether I feel there’s still thematic connections or a very subtle plot that I can follow, one that comforts me and allows me to transverse the bizarre, exuberant, and nostalgic journeys Fellini puts his audience through. With Roma, it was hard for me to get much out of it other than it’s individual pieces. The church fashion show, the hecklers in the theater, and the brothel are all amazing scenes, but I question whether they fit well together in the film, even in an abstract or loose manner. Films like Amarcord, which is similarly structured, work much better for…
Roma is Fellini’s amalgam of fantasies, memories, nostalgias, desires, dreams, theories and commentaries about the city that made him what he was. The result is a powerful and stunning experience, somewhat overextended and definitely unbalanced, but whose components, good and bad, are part of the charm and puzzlement of what it is to watch a Fellini picture.
As Fellini has proven dozens of times, he is a visual painter above all, shooting here some of the most intricate and striking sequences in his career. The underground scene where antique frescoes are discovered and then destroyed by the modern city’s air is absolutely impeccable and crammed with symbolism; the traffic sequence is beautifully photographed, using lights, angles and movements to compose…
Someone must have asked Fellini what he would do if he wanted to showcase everything he liked and disliked about Rome in the span of two hours, and this was the result. A lavish, surreal, outlandish and comical depiction of the italian capital. How can someone not love Fellini?
It's all about seeing the ridiculous things, and how beautiful they are, even though nonsensical. Of course, there is a satirical element in here, he's not only giving us a fun time, he is showing the rotten parts of the city, and pointing fingers. But I chose to stray from that path, today was only about enjoying the greatness of Fellini's Roma!
The disjointed line between embrace and mockery
Fellini’s Roma is one of the most delightful films I’ve seen. At least one of the most I’ve continually smiled ear to ear for it’s entire runtime. It’s a film. Fellini wants to make sure you understand that. He deliberately builds a fantastical world (as he does best) full of strange faces, extravagant costumes, set pieces and, of course, Italian behaviour. But he will occasionally take off his “Fellini lens” and show you reality.
Each face tells a story, and each story is a part of a bigger story. The story of Rome, a city so notorious that even Fellini was scared to capture its reality. So he didn’t, he made his own,…
A young Cassandra Peterson makes an uncredited appearance in this...
Accidentally casting Elvira is THE MOST Felliniesque thing in a Fellini movie.
Melancholia and spectacle. The loose structure for once doesn't really accumulate much and unlike Satyricon it ressents lackin a stronger point of view, but there's quite a few imaginative moments. A clear case of episodes stronger than the whole.
Beautiful love letter to the buffooneries of Rome. Sure there were some scenes that didn't really do it for me but the majority was excellent and charming despite being very absurd. There was something about the coloring that i really enjoyed too. Young Fellini is also quite endearing and likeable ( i know it was a non actor but i'm surprised he didn't play in more roles after this performance)
TSPDT 617, highest ranking 564 in 2006; Director: Federico Fellini; Writer: Federico Fellini, Bernardino Zapponi; Watched June 11th as part of the Criterion Essential Fellini Box Set (Spine 848)
120 minutes. This has proven to be a very difficult film for me to sit down and write about. I have tried over the last few days but just can’t figure out the right words to convey how I felt watching Roma. It’s probably easiest to say that I enjoyed the parts more than the picture as a whole.
It feels like Fellini took the anthology idea and made his own anthology film where he directed every part and then loosely tied them together with a plot about a young Fellini…
My father always says anytime you try to dig in Rome you find something I didn't really need a movie about that
Essential Fellini Criterion Boxset
Have you ever read Naked Lunch? By Burroughs? This film has the hallmarks of Burroughs' writing laid onto celluloid. a loose narrative, connected vignettes, evocative images, powerful scenes, thematic concerns linked directly to rome. It's my favourite film of all time. It's score is beautiful, its material is surreal and grotesque. It's one of the most avant garde and purely beautiful - not only aesthetically, but sentimentally, films ever made.
누구나 뭐가 좋은지 잘들 아는 영화인데 내가 뭘 쓴다면 지랄이지
This review may contain spoilers. I can handle the truth.
A true surprise and a picture genuinely unlike anything else before and after. That 'Roma' works is a miracle and is a major proof for the genius behind it.
From reality into dreams and back again. The stunning thing is that I'm not even aware of when it's literally a dream. I'm just sucked in and that's it - I accept it as reality, just like when experiencing a dream. I figured that I'd probably never see anything that truly resembles that feeling on screen, although many, many films contain dream sequences that are supposed to carry that feeling but don't. A handful, if any, achieve it to a degree - yet none master it like Federico Fellini.
Una obra que celebra y lamenta a la vez, absolutamente barroca y deliciosamente litúrgica. Fellini se desborda a sí mismo y el resultado es un fresco heterogéneo y articulado desde el esperpento y la nostalgia.
Es una película que no sabía que necesitaba, hacía tiempo que no me reía tanto que con la vasta escena del espectáculo de varietés. Ahora capto el germen del humor de la sala de cine de Cinema Paradiso.
El maestro italiano compone un paseo sinfónico por la memoria de la ciudad eterna y por la suya propia, en un amalgama de registros donde se cotejan el delirio y el realismo, la comedia y la seriedad, la autorreflexión y el documental.
One jaw-dropping set piece after another.
So many stunning sequences seared into memory with one view: frescos fading with the air of modern civilization, stray dogs scavenging in the haunting blue light of tram repairs, ecclesiastical fashion shows, variety show hecklers silenced by air raids, al fresco diners and scenes packed to the rafters with organized chaos, Rome as both a shrine and a living breathing entity. And Gore Vidal!
So exciting to see Fellini draw the parallels froms Terrence Stamp’s nighttime joyride in Toby Dammit to the closing sequence of motorcyclists zooming through Roman streets and making their way to the coast. Where one was claustrophobic inevitably leading to a dead end, here we ride out with a sense of expansiveness and freedom, echoing a city we’ve so far seen as chaotic and unruly, careening into its next reinvention.
In spite of some awe-inspiring set pieces, impressive extended sequences and trademark Fellini imagery, one cannot help but feel that Roma is something of a minor work compared to Fellini's masterpieces.
juliodogpit 1,001 films
Drew 1,000 films
This is the January 2021 edition of the They Shoot Pictures, Don't They? list of the 1,000 greatest films.