I love "Amarcord" – always have – perhaps, Fellini played all the right notes for me or more likely, Nino Rota wrote his best musical score for the film which could be the best score ever. "Amarcord", Fellini's last commercial success, is an elaborate nostalgia piece populated with exotic individuals. Breathtaking images, Genuine laughter and Heartbreaking poignancy, Four seasons in Fellini's life as he remembers theirimpact, Rimini Remembered: Spring, Summer, Autumn, Winter…and Spring. Some of the best scenes includes the voluptuous big mama in the little town that could make Anita Ekberg green with envy and the old grandpa that still has a great appetite for the opposite sex. Now streaming on: Powered by JustWatch. He excelled at constructing private worlds; distinct and spirited in their sense of community and place. “Amarcord,” on the other hand, is a totally accessible film. That, at least, would explain the shouting.
Genres: Film Score. The film is set during the stage-opera phase of Italian fascism, which it sees as a delusion of foolish people -- and yet the father in the family, a communist who plays the Internationale from a phonograph in the church tower to protest the visit of a fascist leader, is no less foolish. I don't think any film I've ever seen has so completely captured with such profound insight and simplicity the experience of losing a parent: The visit by the father and son in the hospital in which the mother realizes the awesome finality about to approach, and the son is blissfully unaware in his adolescent "immortality", and the total feeling of quiet and emptiness as the father sits at the dining room table, formerly filled with joyful, loud, noisy life--now emptier than could have ever been imagined before--this whole sequence comes as a powerful conclusion to a stunning film. ", the belly-laugh inducing introduction to each of the instructors at school, the beautiful people, the grotesques. [S]imply nonsensical to me. Fellini vividly recreates a carnival-like atmosphere filled with incident and observation. Fellini explores the lives of the residents of a coastal Italian town. I like to think it is surrealistic in the way that your memory can distort history and all that you once dreamed of or was scared of. It is constructed like a guided tour through a year in the life of the town, from one spring to the next. “Amarcord” is Fellini’s final great film.

He throws apples at those who try to climb up to him, and finally the family sends to the asylum for help, and a midget nun arrives to order Teo down. It's one of the noted Italian directors more vibrant films that captures him at his most playful and incisive. External Reviews Orthodox Fellini lovers will give primacy to La Strada or La Dolce Vita, but Amarcord has its fans, and it's easy to see why. "Amarcord" was the first Fellini film I saw, about two years ago. ), although the period seems real enough.
It's the magic that makes us remember. A movie review by James Berardinelli. While this film certainly has some poignant points about life, it is mostly the work of a great artist who has reached an age where he can view his childhood memories from a detached, nostalgic point of view. Nino Rota's scores have graced dozens of classic films, but "Amarcord" may be his best. The youthful irreverence, casual vulgarity. 2393 083; Vinyl LP). Sorry to break the mainstream, but I really don't like this movie. The film is saturated with Fellini’s affection for these people, whose hopes are so transparent they can see through their own into another’s. And he has the last laugh on the critics of his “structureless” films. Fellini does little to dispel this notion. Someone once remarked that Fellini’s movies are filled with symbols, but they’re all obvious symbols. I have always felt that Fellini is an acquired taste, and it’s one for which I never developed a ravenous appetite. The image is of Italy itself in the 1930s: all grandeur and pomp and nationalism, but with an insubstantial soul. But so is life – loud but tender, vulgar but touching, self-indulgent but full of humor, love and compassion to the film's eccentric characters. I had to force myself to watch "Amarcord" to the bitter end and will definitely wait a while before taking out my next Fellini movie. “Juliet of the Spirits” was too fantastical and structureless, and “Fellini Satyricon” was an exercise in excess, and “The Clowns” was really only a TV show, and “Fellini’s Roma” was episodic -- a great director spinning out sequences that contained brilliance, yes, but no purpose or direction.

When I stopped to read a few of them, they contained obvious misinterpretations of the movie (which was funny) and none of them came up with a significant argument as to why the movie was good but just not for my taste. At the center is an overgrown young adolescent, the son of a large, loud family, who is dizzied by the life churning all around him -- the girls he idealizes, the tarts he lusts for, the rituals of the village year, the practical jokes he likes to play, the meals that always end in drama, the church’s thrilling opportunities for sin and redemption, and the vaudeville of Italy itself -- the transient glories of grand hotels and great ocean liners, the play-acting of Mussolini’s fascist costume party. The movie is set in the 1930s and portrays the everyday adventures of the citizens of Rimini, an Italian city by the Adriatic sea. My thoughts during the film could be described as complete indifference sprinkled with an occasional but acute desire to turn the thing off. Sometimes from this tumult an image of perfect beauty will emerge, as when in the midst of a rare snowfall, the count’s peacock escapes and spreads its dazzling tail feathers in the blizzard.

We not only see Federico's memories, but also the supposed memories of people once surrounding him. Not just one person, but a whole group of people living in a small coastal town in Italy 1930s. It’s also absolutely breathtaking filmmaking. That doesn't mean that it's not good.