Why in the name of all that is holy do people like Federico Fellini?

Probably his best. Just about the only one I want to see again anyway.

I don’t hate Fellini. I just like a few hundred directors better.

I don't hate him but La Strada is one of the "arthouse classics" I loathe the most

Giulietta didn't melt ya heart in that one, eh?

I don't hate him but La Strada is one of the "arthouse classics" I loathe the most

I Vitelloni, y'all

stylistically La Strada certainly doesn't fit with a lot else in his oeuvre. It seems in part an effort to channel Chaplin.

The real outlier is Il bidone--it's practically a Film Noir!

hadn't ever seen his first film Variety Lights (co-directed with Alberto Lattuada) before, it was interesting

has elements that he made into a signature: the toughness, the focus on memorable faces, the tawdry-world loneliness

I Vitelloni and Il Bidone have similar themes

seeing these two films it is clear he is really good at orchestrating and choreographing extended, chaotic, crowded party sequences - the carnival scene in I Vitelloni and the con man's New Year's Eve party in Il Bidone

both are about men who are living an idle life, in one case corralled by family and in the other tending towards crime

in both films the loneliness of outsiders feels like the heart of it

My students will write about Amarcord next weekend.

I dismissed it as too sentimental when I saw it in college but think I will appreciate it much more when I watch it this time around

it was my second Fellini film after Satyricon, which I was really impressed by at the time. I wonder how I will feel about that film now

I've warmed to Fellini over the years. I really love La Dolce Vita, its fantastic.

― Dark Mavis (Michael B), Monday, June 4, 2018 9:30 AM (one year ago)

I have too. La Dolce Vita is spectacular

I wonder if the seven episodes in this film were partly a reference to this being his seventh feature film, like 8 1/2

I like that all of the episodes are centered around amazing night-time set pieces

seeing it again I have a better understanding of the Robert Richardson's term “aesthetic of disparity”, between what life was or could be and what it actually is

also of Ebert's changing view of the film over the years:

"Movies do not change, but their viewers do. When I saw "La Dolce Vita" in 1960, I was an adolescent for whom "the sweet life" represented everything I dreamed of: sin, exotic European glamour, the weary romance of the cynical newspaperman. When I saw it again, around 1970, I was living in a version of Marcello's world; Chicago's North Avenue was not the Via Veneto, but at 3 a.m. the denizens were just as colorful, and I was about Marcello's age. When I saw the movie around 1980, Marcello was the same age, but I was 10 years older, had stopped drinking, and saw him not as a role model but as a victim, condemned to an endless search for happiness that could never be found, not that way. By 1991, when I analyzed the film a frame at a time at the University of Colorado, Marcello seemed younger still, and while I had once admired and then criticized him, now I pitied and loved him. And when I saw the movie right after Mastroianni died, I thought that Fellini and Marcello had taken a moment of discovery and made it immortal"

don’t think if I’ve ever seen Nico as an actress outside of this film

*don't know

of all of the ‘greatest films of all time’, 8 1/2 is the one I have the hardest time relating to, or even understanding

it seems like a whole movie made up of beautifully-filmed interstitial sequences and hectoring party scenes

Juliet of the Spirits is beautiful as his first film in color, but it doesn’t quite have the magic of 8 1/2

I have rewatched most of his films now. Need to see Nights of Cabiria and Satyricon again.

I admire 8 1/2 and especially La Dolce Vita, but I think that La Strada is the Fellini film I love the most. It is neorealism that has been transcended to include expressionist dreams and fantasies (although not the explicit ones of later films, and better for it).

I think it is fascinating and really moving. Anthony Quinn as Zampano gives one of the greatest ever performances, which doesn’t seem to have been acknowledged at the time

having not seen any of these in more than 20 years, La Strada is the one that has stuck with me because of Giulietta Masina and Anthony Quinn's absolutely amazing performances.

I like Fellini’s description of Satyricon as “science fiction of the past”. There’s not much of a story but it is such a surreal, grotesque spectacle and is so out of time that it remains interesting

with Roma I can really see how Fellini's chaotic party sequences and crowd scenes evolved into spectacle

I loved the motorcycles tearing through Rome at the end

2020 is his centennial year, so there'll be a lot of re-evaluation.

8 1/2 - WHY does everyone love this movie

I don't.

filmmakers and people who wish they were

watched Amarcord this week. It’s interesting to see a film a second time 30+ years later and to compare the impressions it made then vs now

Happy 100 to Il Maestro. The haters and naysayers can continue hatin'.

https://www.criterion.com/current/posts/6780-celebrating-fellini-at-100