In Roma (1972; Fellini’s Roma), the director applied the tools of fantasy to the national capital, alternating episodes of the modern hippie occupation of its monuments with his teenage visits to its brothels and the excavations that uncover what remains of the ancient city. [citation needed], The Hollywood on the Tiber phenomenon of 1958 in which American studios profited from the cheap studio labour available in Rome provided the backdrop for photojournalists to steal shots of celebrities on the via Veneto.

[100] Wes Anderson's short film Castello Cavalcanti (2013) is in many places a direct homage to Fellini. [104] That same year, the weekly entertainment-trade magazine Variety announced that French director Sylvain Chomet was moving forward with The Thousand Miles, a project based on various Fellini works, including his unpublished drawings and writings.

Which of these people is not involved in making films? It’s … After first meeting Castaneda in Rome in October 1984, Fellini drafted a treatment with Pinelli titled Viaggio a Tulun.

[95], ​8 1⁄2 inspired, among others, Mickey One (Arthur Penn, 1965), Alex in Wonderland (Paul Mazursky, 1970), Beware of a Holy Whore (Rainer Werner Fassbinder, 1971), Day for Night (François Truffaut, 1973), All That Jazz (Bob Fosse, 1979), Stardust Memories (Woody Allen, 1980), Sogni d'oro (Nanni Moretti, 1981), Parad Planet (Vadim Abdrashitov, 1984), La Pelicula del rey (Carlos Sorin, 1986), Living in Oblivion (Tom DiCillo, 1995), ​8 1⁄2 Women (Peter Greenaway, 1999), Falling Down (Joel Schumacher, 1993), and the Broadway musical Nine (Maury Yeston and Arthur Kopit, 1982). Another [96] Yo-Yo Boing! At an exclusive Milan screening on 5 February 1960, one outraged patron spat on Fellini while others hurled insults.

Guido Brignone’s Maciste all’Inferno (1926), the first film he saw, would mark him in ways linked to Dante and the cinema throughout his entire career.[4].


Specializing in humorous monologues, Fabrizi commissioned material from his young protégé.[11]. Shooting began on 16 March 1959 with Anita Ekberg climbing the stairs to the cupola of Saint Peter’s in a mammoth décor constructed at Cinecittà. His films have ranked highly in critical polls such as that of Cahiers du cinéma and Sight & Sound, which lists his 1963 film ​8 1⁄2 as the 10th-greatest film. Fellini, Masina and their son, Pierfederico, are buried in a bronze sepulchre sculpted by Arnaldo Pomodoro.

The Federico Fellini Airport in Rimini is named in his honour. But for the rest, I am not prepared nor do I plan to become interested in politics. Fellini had two siblings: Riccardo (1921–1991), a documentary director for RAI Television, and Maria Maddalena (m. Fabbri; 1929–2002).

[citation needed], Changing the title of the screenplay to La Dolce Vita, Fellini soon clashed with his producer on casting: the director insisted on the relatively unknown Mastroianni while De Laurentiis wanted Paul Newman as a hedge on his investment. A small town was built at Empire Studios on the via Pontina outside Rome. It seems to me that I have invented almost everything: childhood, character, nostalgias, dreams, memories, for the pleasure of being able to recount them.[5]. Despite her family's vehement disapproval, she had eloped with Urbano in 1917 to live at his parents' home in Gambettola.

After dating for nine months, the couple were married on 30 October 1943.

The son of a traveling salesman who sold foodstuffs and a mother who believed that, in marrying beneath her, she betrayed her links to Roman nobility, Fellini grew up believing he belonged in Rome. Four months after publishing his first article in Marc’Aurelio, the highly influential biweekly humour magazine, he joined the editorial board, achieving success with a regular column titled But Are You Listening? Two aimless young bisexual men wander a morally and physically decaying world of casual decadence, rendered in the gaudy colours that until then had never been associated with antiquity. He became involved with Italian Neorealism when Roberto Rossellini, at work on Stories of Yesteryear (later Rome, Open City), met Fellini in his shop, and proposed he contribute gags and dialogue for the script. [55] In February, Fellini scouted locations in Paris for The Clowns, a docufiction both for cinema and television, based on his childhood memories of the circus and a "coherent theory of clowning. His other well-known films include La Strada (1954), Nights of Cabiria (1957), Juliet of the Spirits (1967), Satyricon (1969), Roma (1972), Amarcord (1973), and Fellini's Casanova (1976).

Fellini and Ruggero Maccari, also on the staff of Marc’Aurelio, began writing radio sketches and gags for films. He visited Rome with his parents for the first time in 1933, the year of the maiden voyage of the transatlantic ocean liner SS Rex (which is shown in Amarcord). In addition, Fellini contributed to Rossellini’s Paisà (1946; Paisan) and Il miracolo (1948; “The Miracle”, an episode of the film L’amore), in which he also acted, playing a tramp who impregnates a simple-minded peasant when she takes him for the reincarnation of St. Joseph. [34] The Vatican's official press organ, l'Osservatore Romano, lobbied for censorship while the Board of Roman Parish Priests and the Genealogical Board of Italian Nobility attacked the film. [32] The scandal provoked by Turkish dancer Haish Nana's improvised striptease at a nightclub captured Fellini's imagination: he decided to end his latest script-in-progress, Moraldo in the City, with an all-night "orgy" at a seaside villa. In 1953, I Vitelloni found favour with the critics and public. During World War II Fellini wrote scripts for the radio serial Cico e Pallina, starring Giulietta Masina, who became his wife in 1943 and who appeared in several of his films during an often troubled 50-year marriage. [9] Described as “the determining moment in Fellini’s life”,[10] the magazine gave him steady employment between 1939 and 1942, when he interacted with writers, gagmen, and scriptwriters. Fellini directed La Strada based on a script completed in 1952 with Pinelli and Flaiano. It is rumored that he supported Christian Democracy (DC). Among his collaborators on the magazine's editorial board were the future director Ettore Scola, Marxist theorist and scriptwriter Cesare Zavattini, and Bernardino Zapponi, a future Fellini screenwriter.

[7] Failing his military culture exam, he graduated from high school in July 1938 after doubling the exam. Infused with the surrealistic satire that characterized the young Fellini's work at Marc’Aurelio, the film ridiculed a crusader against vice, interpreted by Peppino De Filippo, who goes insane trying to censor a billboard of Anita Ekberg espousing the virtues of milk.[44]. [31] Due to Loren's unavailability, the project was shelved and resurrected twenty-five years later as Lovers and Liars (1981), a comedy directed by Mario Monicelli with Goldie Hawn and Giancarlo Giannini. Inspired by newspaper headlines and some topical scandals, the film comprehensively indicts a Rome dominated by foreign movie stars, corrupt journalists, and decadent aristocrats.

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.

[70], In July 1991 and April 1992, Fellini worked in close collaboration with Canadian filmmaker Damian Pettigrew to establish "the longest and most detailed conversations ever recorded on film".

JulietNow established as an international talent, Fellini addressed the myths of Rome, employing an insight into the unconscious gained through study of his preferred psychoanalytical theorist, Carl Jung.

a theatrical producer?)
Starring Alberto Sordi in the title role, the film is a revised version of a treatment first written by Michelangelo Antonioni in 1949 and based on the fotoromanzi, the photographed cartoon strip romances popular in Italy at the time. Life and dreams were raw material for his films. Raising a toast to the crew, he "felt overwhelmed by shame… I was in a no exit situation. In one documented instance involving favourable reviews written by the Jesuits of San Fedele, defending La Dolce Vita had severe consequences. Federico Fellini, Cavaliere di Gran Croce OMRI was an Italian film director and screenwriter known for his distinctive style, which blends fantasy and baroque images with earthiness.