I think what made Fellini special, especially in thos early days is that he took the essence of Neo Realism (life as it is) and added his own element (life as it ought to be) and combimed them to create these wonderful parables through which he could explore his themes like religion, the circus, childhood, etc.
Jose, a wonderful piece on Fellini. Such a coincidence, as I just watcehd "La Dolce Vita" last night, after having returned from Italy last week. (The Trevi Fountain was packed with tourists!) An escalating series of scenes depicting the decadence and desperation of the Sweet Life.
(But I must ask... did I just IMAGINE Marcello walking into the fountain?)
Anyway, kudos to you for standing up for "Satyricon". This was Fellini's nighmare vision of society's dissipation, his images forming what he termed "a science-fiction set in the past".
Excellent point Mike! Never though of it that way before.
Tom: OMG that's a total editorial mistake, you're not imagining it, what I meant to say is that he doesn't get in immediately, he hesitates. In fact I've always loved how he almost touches her but never dares to in that scene. That empty space between them represents the entire movie for me, how near and so far he is from sublimity. Thanks for reading it and let's keep the mistake between us hehe ;)
3 comments:
I think what made Fellini special, especially in thos early days is that he took the essence of Neo Realism (life as it is) and added his own element (life as it ought to be) and combimed them to create these wonderful parables through which he could explore his themes like religion, the circus, childhood, etc.
Jose, a wonderful piece on Fellini. Such a coincidence, as I just watcehd "La Dolce Vita" last night, after having returned from Italy last week. (The Trevi Fountain was packed with tourists!) An escalating series of scenes depicting the decadence and desperation of the Sweet Life.
(But I must ask... did I just IMAGINE Marcello walking into the fountain?)
Anyway, kudos to you for standing up for "Satyricon". This was Fellini's nighmare vision of society's dissipation, his images forming what he termed "a science-fiction set in the past".
Thank you for helping preserve Fellini's art.
Excellent point Mike! Never though of it that way before.
Tom: OMG that's a total editorial mistake, you're not imagining it, what I meant to say is that he doesn't get in immediately, he hesitates. In fact I've always loved how he almost touches her but never dares to in that scene. That empty space between them represents the entire movie for me, how near and so far he is from sublimity.
Thanks for reading it and let's keep the mistake between us hehe ;)
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