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Fellini uses a recollection of his youth in his film, Amarcord in order to critique the indifferent attitudes of Italians, while fascism come to power. Many filmmakers of his generation tackled the fascist agenda in their films, but Fellini discussed fascism in a revolutionary way. He focused on the apathy of average Italians in Amarcord, and their apathy can be attributed to fascisms absurdity in Italy.
tagged absurdity amarcord apathy fascism federico fellini film filmmakers generation indifference italy
by lorenyu
...on 10-APR-08
Bold, Alan. “ A disturbed, despotic director.” The Herald (Glasgow). 23 October 1993, 19. LexisNexis . University of Pennslvania Library, Philadelphia. 4 April 2008
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Federico Fellini is recognized as one of the greatest talents in modern cinema, and author John Baxter has written a book--Fellini--about the director’s life. Critic Alan Bold analyzes Baxter’s work in this piece. Bold argues that Fellini’s popularity is a result of him incorporating a confessional-style into movie-making and he finds that Fellini fans--and he calls Baxter such a fan--are more interested in his personality, than anything. The filmmakers self-love was evident, when Sight and Sound magazine polled major international directors for a top-ten list and Fellini was the only one to include his own work in his list. Fellini once also confessed to being the inspiration for the main character in his film Eight and a Half.
Fellini was known for being a bully in his youth and he is presented as something of a terror in Baxter’s book. Fellini is described as an individual obsessed with himself and power. This power is exemplified by his dominant presence in a film. Fellini not only relates himself to the main character of Eight and a Half, but also incorporates personal sentiments into other films, such as Amarcord. Amarcord is frequently referred to as a critique of fascism, by Fellini himself and other critics, however Baxter’s book has a different analysis. Alan Bold mentions Fellini’s dabble with fascism in his youth. Fellini was a fascist at the age of 19 and drew cartoons for fascist magazines. Baxter’s book regards Amarcord to be more of a personal apology.
As the introduction to Alan Bold’s piece suggests, Fellini is in fact “as distrubed as the characters he creates”, because Fellini’s life experiences and personal reflections are precisely incorporated into his films. Fellini was known to make films based on the experiences of his life. His honest, true-to-life style in Amarcord, makes one have to believe that this is a story that he is familiar with. The main character is exposes the flaws of his characters, for failing to prevent fascism. However, we also learn from this piece that Fellini was once a fascist and felt he owed an apology. His attack on the indifference of the characters in Amarcord is also a personal vendetta with himself--the failure of his characters to see what was happening to their country, was in fact his own juvenile failure.
http://proxy.library.upenn.edu:5591/us/lnacademic/results/docview/docview.do?risb=21_T3480194614&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T3480194618&cisb=22_T3480194617&treeMax=true&treeWidth=0&csi=142728&docNo=1
Federico Fellini is recognized as one of the greatest talents in modern cinema, and author John Baxter has written a book--Fellini--about the director’s life. Critic Alan Bold analyzes Baxter’s work in this piece. Bold argues that Fellini’s popularity is a result of him incorporating a confessional-style into movie-making and he finds that Fellini fans--and he calls Baxter such a fan--are more interested in his personality, than anything. The filmmakers self-love was evident, when Sight and Sound magazine polled major international directors for a top-ten list and Fellini was the only one to include his own work in his list. Fellini once also confessed to being the inspiration for the main character in his film Eight and a Half.
Fellini was known for being a bully in his youth and he is presented as something of a terror in Baxter’s book. Fellini is described as an individual obsessed with himself and power. This power is exemplified by his dominant presence in a film. Fellini not only relates himself to the main character of Eight and a Half, but also incorporates personal sentiments into other films, such as Amarcord. Amarcord is frequently referred to as a critique of fascism, by Fellini himself and other critics, however Baxter’s book has a different analysis. Alan Bold mentions Fellini’s dabble with fascism in his youth. Fellini was a fascist at the age of 19 and drew cartoons for fascist magazines. Baxter’s book regards Amarcord to be more of a personal apology.
As the introduction to Alan Bold’s piece suggests, Fellini is in fact “as distrubed as the characters he creates”, because Fellini’s life experiences and personal reflections are precisely incorporated into his films. Fellini was known to make films based on the experiences of his life. His honest, true-to-life style in Amarcord, makes one have to believe that this is a story that he is familiar with. The main character is exposes the flaws of his characters, for failing to prevent fascism. However, we also learn from this piece that Fellini was once a fascist and felt he owed an apology. His attack on the indifference of the characters in Amarcord is also a personal vendetta with himself--the failure of his characters to see what was happening to their country, was in fact his own juvenile failure.
Farber, Stephen. “‘Amarcord’ and ‘Lacombe, Lucien’: Illuminations of Things Past.” New York Times. Nov. 3, 1974, 157. ProQuest Historical Newspapers The New York Times (1851 - 2004). University of Pennslvania Library, Philadelphia. 4 April 2008 <http://proquest.umi.com/pqdweb?index=0&did=148855932&SrchMode=1&sid=5&Fmt=11&VInst=PROD&VType=PQD&RQT=309&VName=HNP&TS=1207803701&clientId=3748>
Stephen Farber touches on the themes of two films of the early 1970’s: Amarcord and Lacombe, Lucien. Federico Fellini’s Amarcord takes place in 1930’s fascist Italy, at Mussolini’s prime, while Louis Malle’s Lacombe, Lucien is set just prior to the liberation of France, around 1944. Both filmmakers exploit the apathetic responses of everyday people as the cause of fascism. The films make a similar statement, but achieve this with two very different means. In Lacombe, Lucien, the sequence of events seem unplanned and occur randomly, but they come together with rational answers. The main character Lucien, seems to join the Gestapo by chance: he is first rejected from joining the Resistance, but is picked up by Vichy police and pressured into helping their organization. Scenes are presented with such cold, harsh reality, that it is almost comical. Stephen Farber describes a scene where a Gestapo officer holds a man’s head below water, while his girlfriend laughs that his expensive pants are getting wet. Fellini’s Amarcord places the most importance on the warm and personal day-to-day events in the lives of Italians. Farber calls the film “less overtly political; it is a personal memoir”. The audience observes the passing of time in a small town of Italy and is consistently reminded of the apathy and submissiveness of the citizens. Fascism in Italy is built from the cooperation of similar towns.
The memoir-like quality of the film is likely the result of Fellini exploring this film from his own experiences. The comparison of these two films exposes Amarcord’s warmth in the telling of everyday events. Italy has come under fascist rule, yet the people carry on, with business as usual. The film has captured these events in a life-like, human quality that makes the passive choice of the characters actually understandable. The film makes a point of presenting this style of life on a silver platter--apathy is an easy route to take.
Stephen Farber touches on the themes of two films of the early 1970’s: Amarcord and Lacombe, Lucien. Federico Fellini’s Amarcord takes place in 1930’s fascist Italy, at Mussolini’s prime, while Louis Malle’s Lacombe, Lucien is set just prior to the liberation of France, around 1944. Both filmmakers exploit the apathetic responses of everyday people as the cause of fascism. The films make a similar statement, but achieve this with two very different means. In Lacombe, Lucien, the sequence of events seem unplanned and occur randomly, but they come together with rational answers. The main character Lucien, seems to join the Gestapo by chance: he is first rejected from joining the Resistance, but is picked up by Vichy police and pressured into helping their organization. Scenes are presented with such cold, harsh reality, that it is almost comical. Stephen Farber describes a scene where a Gestapo officer holds a man’s head below water, while his girlfriend laughs that his expensive pants are getting wet. Fellini’s Amarcord places the most importance on the warm and personal day-to-day events in the lives of Italians. Farber calls the film “less overtly political; it is a personal memoir”. The audience observes the passing of time in a small town of Italy and is consistently reminded of the apathy and submissiveness of the citizens. Fascism in Italy is built from the cooperation of similar towns.
The memoir-like quality of the film is likely the result of Fellini exploring this film from his own experiences. The comparison of these two films exposes Amarcord’s warmth in the telling of everyday events. Italy has come under fascist rule, yet the people carry on, with business as usual. The film has captured these events in a life-like, human quality that makes the passive choice of the characters actually understandable. The film makes a point of presenting this style of life on a silver platter--apathy is an easy route to take.
Cassels, Alan, 1929- . Fascist Italy / Alan Cassels. 2nd ed. 0882958283 (pbk.) series Arlington Heights, Ill. : H. Davidson, c1985.
Call#: Van Pelt Library DG571 .C425 1985
Call#: Van Pelt Library DG571 .C425 1985
In the chapter “In Power” of the book Fascist Italy, Alan Cassels writes on the passive manner in which Italians appeared, throughout the introduction of fascist rule. Several signs point to their apathy. One writer--Ignazio Silone--even wrote a popular work of fiction on the matter at the time, where the hero fails at turning workers and peasants into raising an uprising against the fascists. Cassels describes workers as being unhappy under fascist rule, but states that they posed no real threat. Italians did not expect significant changes in their way of life, and thus resigned to their normal course of life. Their apathetic attitudes of Italians led their country to fascism, though the majority of them were hardly believers in fascism. Cassels mentions a story from the fascist era, where an official visits a factory and learns that the workers are all either communist, socialist or members of smaller parties.
The themes of this chapter can be related to Federico Fellini’s film Amarcord. The film was unique in its telling, in that it follows the everyday lives of Italians who could be best described as being unconcerned with fascism interfering with their government. The characters of the film carry on with their way of life, with hardly a doubt.
The themes of this chapter can be related to Federico Fellini’s film Amarcord. The film was unique in its telling, in that it follows the everyday lives of Italians who could be best described as being unconcerned with fascism interfering with their government. The characters of the film carry on with their way of life, with hardly a doubt.
Tannenbaum, Edward R. . Fascist experience; Italian society and culture, 1922-1945 [by] Edward R. Tannenbaum. 0465068774 series New York, Basic Books [1972]
Call#: Van Pelt Library DG450 .T36
Edward Tannenbuam’s chapter titled “Fascist Socialization and Conformity” discusses the way in which Italians were conformed into fascist ideals around the 1920’s and 30’s. Italian youths were the first to be subject to a a form of socialization into a fascist society. They were placed in organizations and programs, similar to boys and girls scouts. The groups were not meant to be political and the rules of the groups were similar to most codes of conduct: don’t smoke, don’t gamble, don’t drink, be honest, etc. They were required to take an oath, that Tannenbaum calls as inoffensive as the American pledge of allegiance. One of their rules requires the “scouts” to stop or prevent anyone from speaking against fascism, however this rule was never enforced. In fact, most of these groups were quite loose in their regulations. Equally, Italian youths were not interested in most of these groups. Some programs provided military training. Most youths skipped their courses and viewed it as an intrusion. As Tannenbaum puts it: “...most eighteen to twenty-year-old Italian males still preferred...to view themselves as lovers rather than fighters” (125). A small minority of students were opposed to their country’s actions, and very few of them were actually rebellious. The rest of them were neither rebellious or conformist, and only tried to adapt to fascism, as long as it contributed to their well-being. Tannenbaum decides that most students were more concerned about girls and sports, rather than politics. Only the youngest children enjoyed the fascist programs, but only because they were too young to understand it and were interested only in doing what their peers did. In rural areas, fascism failed to be an influence at all. The fascist regime also created leisure activities for adults, with organizations like the Dopolavoro. The Dopolavoro was described as being “...popular without being very Fascist” (139). In fact, organizations like the Dopolavoro avoided politics altogether, with the exception of censoring certain forms of media at their centers. Most Italians felt that life under the fascist regime was normal and they did what was needed to conform, but this was done out of opportunism rather than fear or commitment. Most Italians joined the party to improve their image and professionalism and parents pushed children into conforming, so as to safeguard their future careers. Insubordination was rare. Small towns were easiest to conform, because most of the well respected citizens were already members. Interestingly, the less educated were less likely to conform because the simply did not understand what conformity would accomplish.
Several themes in this chapter were covered by Federico Fellini’s film Amarcord. The film portrays the carefree life of a boy in a small town of Italy. Those living in this small town are conformist, self-involved, and probably do not support the ideals of fascism, but live under its shadow without question. These characters are politically unconcerned as long as their personal lives are satisfactory. They do not see fascism to be a serious threat to their livelihood, and thus ignore it. Tannenbaum also cites a general, care-free attitude amongst Italians. Fellini himself lived some of the history that Tannebaum tells, as he was brought up in in a small town during the 1920’s and 30’s. The film is likely a retelling of Fellini’s own childhood, and as evidenced by Tannenbaum’s book, these are sentiments shared by many Italians of Fellini’s generation.
Call#: Van Pelt Library DG450 .T36
Edward Tannenbuam’s chapter titled “Fascist Socialization and Conformity” discusses the way in which Italians were conformed into fascist ideals around the 1920’s and 30’s. Italian youths were the first to be subject to a a form of socialization into a fascist society. They were placed in organizations and programs, similar to boys and girls scouts. The groups were not meant to be political and the rules of the groups were similar to most codes of conduct: don’t smoke, don’t gamble, don’t drink, be honest, etc. They were required to take an oath, that Tannenbaum calls as inoffensive as the American pledge of allegiance. One of their rules requires the “scouts” to stop or prevent anyone from speaking against fascism, however this rule was never enforced. In fact, most of these groups were quite loose in their regulations. Equally, Italian youths were not interested in most of these groups. Some programs provided military training. Most youths skipped their courses and viewed it as an intrusion. As Tannenbaum puts it: “...most eighteen to twenty-year-old Italian males still preferred...to view themselves as lovers rather than fighters” (125). A small minority of students were opposed to their country’s actions, and very few of them were actually rebellious. The rest of them were neither rebellious or conformist, and only tried to adapt to fascism, as long as it contributed to their well-being. Tannenbaum decides that most students were more concerned about girls and sports, rather than politics. Only the youngest children enjoyed the fascist programs, but only because they were too young to understand it and were interested only in doing what their peers did. In rural areas, fascism failed to be an influence at all. The fascist regime also created leisure activities for adults, with organizations like the Dopolavoro. The Dopolavoro was described as being “...popular without being very Fascist” (139). In fact, organizations like the Dopolavoro avoided politics altogether, with the exception of censoring certain forms of media at their centers. Most Italians felt that life under the fascist regime was normal and they did what was needed to conform, but this was done out of opportunism rather than fear or commitment. Most Italians joined the party to improve their image and professionalism and parents pushed children into conforming, so as to safeguard their future careers. Insubordination was rare. Small towns were easiest to conform, because most of the well respected citizens were already members. Interestingly, the less educated were less likely to conform because the simply did not understand what conformity would accomplish.
Several themes in this chapter were covered by Federico Fellini’s film Amarcord. The film portrays the carefree life of a boy in a small town of Italy. Those living in this small town are conformist, self-involved, and probably do not support the ideals of fascism, but live under its shadow without question. These characters are politically unconcerned as long as their personal lives are satisfactory. They do not see fascism to be a serious threat to their livelihood, and thus ignore it. Tannenbaum also cites a general, care-free attitude amongst Italians. Fellini himself lived some of the history that Tannebaum tells, as he was brought up in in a small town during the 1920’s and 30’s. The film is likely a retelling of Fellini’s own childhood, and as evidenced by Tannenbaum’s book, these are sentiments shared by many Italians of Fellini’s generation.
Bachman, Gideon and Federico Fellini. “A Guest in My Own Dreams: An Interview with Federico Fellini.”Film Quarterly. Vol. 47, No. 3, Spring. 1994, 2-15. JSTOR University of California Press. University of Pennslvania Library, Philadelphia. 4 April 2008 <http://www.jstor.org/stable/1212955>
Gideon Bachmann’s interview covers several Fellini films and discusses his process in making a film. Fellini admits to often being the inspiration for the main characters in his films. He agrees that there are loose references to his life when his films are within a specific stretch of time and cover certain contexts. He says he gives to the characters in his films to establish a more accurate representation of real life. Fellini talks about fascism as a type of strain on his childhood. American films were a relief as a child, because they were a break from the lies of the church and the fascist dictatorship. He called reality “completely falsified” under fascism. As a child, he was forced to confine to the fascist ideal and lost all freedom and honesty. He had to avoid things that were forbidden. Fascism had a way over most children his age, who believed that war was the key to living and they dreamed of dying in war.
This interview puts forth Fellini’s opinions of fascism and it reveals the characters of his films as being forms of himself, throughout his life. The main character in his film Amarcord is also a loose version of himself. His distaste for fascism is evident not only in this interview, but also in Amarcord, where fascism is mocked and ridiculed for its absurdity.
Gideon Bachmann’s interview covers several Fellini films and discusses his process in making a film. Fellini admits to often being the inspiration for the main characters in his films. He agrees that there are loose references to his life when his films are within a specific stretch of time and cover certain contexts. He says he gives to the characters in his films to establish a more accurate representation of real life. Fellini talks about fascism as a type of strain on his childhood. American films were a relief as a child, because they were a break from the lies of the church and the fascist dictatorship. He called reality “completely falsified” under fascism. As a child, he was forced to confine to the fascist ideal and lost all freedom and honesty. He had to avoid things that were forbidden. Fascism had a way over most children his age, who believed that war was the key to living and they dreamed of dying in war.
This interview puts forth Fellini’s opinions of fascism and it reveals the characters of his films as being forms of himself, throughout his life. The main character in his film Amarcord is also a loose version of himself. His distaste for fascism is evident not only in this interview, but also in Amarcord, where fascism is mocked and ridiculed for its absurdity.
Wellhofer, Spencer. “Democracy and Fascism: Class, Civil Society, and Rational Choice in Italy.” The American Political Science Review. Vol. 97, No. 1, Feb. 2003, 91-106. JSTOR. American Politicial Science Association. University of Pennslvania Library, Philadelphia. 4 April 2008 <http://www.jstor.org/stable/3118223>
Spencer Wellhofers discussion on the emergence of fascism considers the requirements for fascism to succeed. He examines the ways in which fascism appeared in Italy within four years. Fascism set into Italy in different ways than it did in Germany. Fascists did not have to rely heavily on the support of those in rural areas in Germany, as it is primarily an industrial country. However, in Italy Mussolini had to have the unity of those living on the countryside.
It did not take long for fascists to take power in Italy and the transition appeared easy. Many Italians have conveyed these resentments through various art and media outlets, including film.
Federico Fellini, one of the most well-known Italian filmmakers tackled the issue of fascism by incorporating experiences of his own into his films. Fellini displays fascism as an issue in a small town in Italy, where the citizens are either completely ignorant to fascism’s capability, or they are not interested in it at all and feel that it is hardly a serious threat to their day-to-day living. In small towns, Italians were heavily influenced by the leaders of their communities, and oftentimes it was these leaders and who were pressured into retaining their professionalism by joining the fascist party. (see The Fascist Experience; Italian Society and Culture 1922-1945 by Edward R. Tannenbaum)
Spencer Wellhofers discussion on the emergence of fascism considers the requirements for fascism to succeed. He examines the ways in which fascism appeared in Italy within four years. Fascism set into Italy in different ways than it did in Germany. Fascists did not have to rely heavily on the support of those in rural areas in Germany, as it is primarily an industrial country. However, in Italy Mussolini had to have the unity of those living on the countryside.
It did not take long for fascists to take power in Italy and the transition appeared easy. Many Italians have conveyed these resentments through various art and media outlets, including film.
Federico Fellini, one of the most well-known Italian filmmakers tackled the issue of fascism by incorporating experiences of his own into his films. Fellini displays fascism as an issue in a small town in Italy, where the citizens are either completely ignorant to fascism’s capability, or they are not interested in it at all and feel that it is hardly a serious threat to their day-to-day living. In small towns, Italians were heavily influenced by the leaders of their communities, and oftentimes it was these leaders and who were pressured into retaining their professionalism by joining the fascist party. (see The Fascist Experience; Italian Society and Culture 1922-1945 by Edward R. Tannenbaum)
Bosworth, R. J. B. . Mussolini's Italy : life under the dictatorship, 1915-1945 / R.J.B. Bosworth. 1st American ed. 1594200785 series New York : Penguin Books, 2006.
Call#: Van Pelt Library DG571 .B715 2006
Call#: Van Pelt Library DG571 .B715 2006
R.J.B. Bosworth’s chapter “Placing Italy in Europe” discusses the involvement of Italy’s fascist regime with its youth. Italy treasured every victory and death of an enemy and threw a parade for each. The parades were substantial events that were open for all Italians to attend. The parades were frequent and were meant to conjure up a militant, nationalistic pride in one’s country. However, most children did not see them in this way. One man who attended the parades as a young boy actually used the parades as a time to dream of sexual desires. These parades were hardly successful in their intentions. The fascist regime also attempted to influence the youth by establishing relationships between play and war. They marketed toy guns that were exact replicas of the real ones and felt that this would encourage militant desires. Schools taught children in a “fascist manner”, however children were hardly disciplined and most Italians raised their children with warmth tolerance. Most efforts were insignificant and failed to directly relate with children. In a sense, many of the fascist ideas on raising children were absurd. The amount of parading that occurred was overworked and tiresome, and this made each successive parade less and less significant.
The film Amarcord uses humor to bring out the absurdity of Italian fascism. To Italians, fascism was hardly a matter to be taken seriously. They were disinterested and unconcerned when the fascist regime gained power, because they did not think it could become much of an influence on their lives. Certainly, the fascist regime’s use of parades and toy guns as a way to inspire militant sensations was absurd.
The film Amarcord uses humor to bring out the absurdity of Italian fascism. To Italians, fascism was hardly a matter to be taken seriously. They were disinterested and unconcerned when the fascist regime gained power, because they did not think it could become much of an influence on their lives. Certainly, the fascist regime’s use of parades and toy guns as a way to inspire militant sensations was absurd.
Hay, James, 1952- .
Popular film culture in Fascist Italy : the passing of the Rex / James Hay. 0253361079 series Bloomington, IN : Indiana University Press, c1987.
Call#: Van Pelt Library PN1993.5.I88 H39 1987
Call#: Van Pelt Library PN1993.5.I88 H39 1987
Call#: Van Pelt Library
Call#: Van Pelt Library--4 East--Temporary Location Annenberg PN1993.5.I88 H39 1987
Call#: Van Pelt Library--4 East--Temporary Location Annenberg PN1993.5.I88 H39 1987
Call#: Van Pelt Library--4 East--Temporary Location Annenberg
Call#: Van Pelt Library PN1993.5.I88 H39 1987
Call#: Van Pelt Library PN1993.5.I88 H39 1987
Call#: Van Pelt Library
Call#: Van Pelt Library--4 East--Temporary Location Annenberg PN1993.5.I88 H39 1987
Call#: Van Pelt Library--4 East--Temporary Location Annenberg PN1993.5.I88 H39 1987
Call#: Van Pelt Library--4 East--Temporary Location Annenberg
Author James Hay introduces his book Popular Film Culture in Fascist Italy: The Passing of the Rex with an extensive analysis of Federico Fellini’s film Amarcord. He uses this particular film, even though he cites many other Italian films that touched on fascism and refers to the reviews of critics, who have called Amarcord “one of the most accurate representations of the essence of Italian Fascism.” He finds that the film was unique in portraying fascism through the close examination of a young boy’s life, without overtly alluding to the repressive ideology, that most films about fascism indulged in. Amarcord--as the title’s meaning in Italian suggests (“I Remember”)--is more or less remembrance of Fellini’s own childhood, where Fellini relates to the young boy and interprets Fascism as he experienced it. Fascism for the boy was no more than: “...his immediate relationships family, schoolfriends, and neighbors...it was simply another “imposition””. Amarcord covers the “institutions” of the boy’s life: the church, the Grand Hotel and the town cinema, which encompass all of his communal and familial connections. These are what Hay calls the town’s “fabric of consensus”, and nothing exists outside of this consensus for the community. Hay finds that the film views fascism at the “most vital” level--the local level, which includes the personal, intimate and communal. Amarcord is a film that touches on fascism through the eyes of a young boy and a small, isolated community in Italy going through radical cultural changes. Hay mentions a growing popularity in films about Italian fascism in the 70’s and argues that Stalin’s death and the Hungarian revolution in the 1950’s led to a rise of film directors who were free to question the authority of fascism. He argues that the cultural changes after Stalin’s death also gave way to interest in popular cinema, rather than auteuristic cinema, which is “aristocratic and authoritative”.
Fellini made Amarcord with his own childhood in mind. The film appears to be an accurate representation of the sentiments at the time, precisely because the filmmaker himself experienced it. Amarcord is told much like a personal memoir and it captures Fellini’s personal distaste for fascism. This film is a very intimate view into the filmmaker’s childhood. It is important to note that the “institutions” of the boy’s life were no more than the workings of opportunistic Italians--most Italians only joined the fascist party in order to maintain their professionalism. Such actions were not driven by an interest in the ideals of fascism. (see The Fascist Experience; Italian Society and Culture 1922-1945 by Edward R. Tannenbaum)
Wheatcroft, Geoffrey. “Sham and Bluster; An epic history helps explain why the Italians never took fascism entirely seriously.” The Washington Post 9 April 2006. <http://www.washingtonpost.com/wp-dyn/content/article/2006/04/06/AR2006040601748.html>
Geoffrey Wheatcroft picks apart R.J.B. Bosworth’s book Life under the Fascist Dictatorship, 1915-1945 in his article “Sham and Buster; An epic history helps explain why the Italians never took fascism entirely seriously”. In his analysis of the book, he resolves to call Italian fascism something of a farce. In comparison to Nazi Germany and Soviet Russia, totalitarian rule in Italy was laid-back. He credits this to the Italian proclivity towards not taking politics seriously. This tendency makes Italy’s history with fascism almost humorous. Bosworth’s book points out Mussolini’s failures after declaring war on France and England, Italy’s failure to recognize Libya’s vast oil fields after ruling the country for decades and how one fascist leader became one of the first fatalities in the war after his plane was brought down by an Italian anti-aircraft weapon. Hitler once said the Italians never had their hearts in fascism and “the excessive warmth of family relations there overwhelms all the rest.” Wheatcroft regards Italy as a timid, insignificant force in their run-in with fascism.
Geoffrey Wheatcroft has pulled out points from R.J.B. Bosworth’s non-fiction and embellished them with conclusions of his own. His sentiments draw parallels to Federico Fellini’s Amarcord. Fellini’s film uses humor in a way to mock and ridicule fascist ideals. The film was in fact very critical of fascism, whether intentional or not, and the humor plays with fascism’s absurdity. Wheatcroft instead ridicules Italy’s dabble with fascism. Many Italians failed to take fascism too seriously, and in a way, this had to do with the absurdity of it. Wheatcroft also discusses the nonchalant attitude of Italians towards politics. Similarly, Fellini’s film focuses much attention on the everyday, care-free attitudes of a small, isolated community of Italians.
Geoffrey Wheatcroft picks apart R.J.B. Bosworth’s book Life under the Fascist Dictatorship, 1915-1945 in his article “Sham and Buster; An epic history helps explain why the Italians never took fascism entirely seriously”. In his analysis of the book, he resolves to call Italian fascism something of a farce. In comparison to Nazi Germany and Soviet Russia, totalitarian rule in Italy was laid-back. He credits this to the Italian proclivity towards not taking politics seriously. This tendency makes Italy’s history with fascism almost humorous. Bosworth’s book points out Mussolini’s failures after declaring war on France and England, Italy’s failure to recognize Libya’s vast oil fields after ruling the country for decades and how one fascist leader became one of the first fatalities in the war after his plane was brought down by an Italian anti-aircraft weapon. Hitler once said the Italians never had their hearts in fascism and “the excessive warmth of family relations there overwhelms all the rest.” Wheatcroft regards Italy as a timid, insignificant force in their run-in with fascism.
Geoffrey Wheatcroft has pulled out points from R.J.B. Bosworth’s non-fiction and embellished them with conclusions of his own. His sentiments draw parallels to Federico Fellini’s Amarcord. Fellini’s film uses humor in a way to mock and ridicule fascist ideals. The film was in fact very critical of fascism, whether intentional or not, and the humor plays with fascism’s absurdity. Wheatcroft instead ridicules Italy’s dabble with fascism. Many Italians failed to take fascism too seriously, and in a way, this had to do with the absurdity of it. Wheatcroft also discusses the nonchalant attitude of Italians towards politics. Similarly, Fellini’s film focuses much attention on the everyday, care-free attitudes of a small, isolated community of Italians.
Rothstein, Edward. “ Using Farce to Break the Dark Spell of Fascism.” New York Times. 18 Oct 1998, AR28. ProQuest Historical Newspapers The New York Times (1851 - 2004). University of Pennslvania Library, Philadelphia. 4 April 2008 <http://proquest.umi.com/pqdweb?index=1&did=116548724&SrchMode=1&sid=10&Fmt=11&VInst=PROD&VType=PQD&RQT=309&VName=HNP&TS=1207804019&clientId=3748>
Fascism and humor are conflicting themes. Fascism is not just a serious topic, the word itself implies conformity under a law and it challenges personal liberties. Humor thrives on ridicule, vulnerability and the upending of authority, while turning what is most important into an absurdity. Edward Rothstein discusses the use of humor in the film Life is Beautiful. The film attempts to fight fascism with humor. The main character is a Jewish bookseller persistent in keeping the monstrosity of the Holocaust from his son. He turns the horrors of the time into a game for the boy. This fantasy is possible, in part because the film plays on the innocence of a child. Although humor may be the strongest opposition to fascism, downplaying fascism may also downplay the hardships faced by its victims.
Life is Beautiful can be nightmarish, yet also grotesquely outrageous. At times, the humor of the film outplays the seriousness of the topic, and the concentration camps appear less appalling. However the film manages to properly preserve the main character’s trying efforts in the face of death. Rothstein calls this terror in the company of humor a “death-haunted clowning”. The writer and director of Life is Beautiful, Roberto Benigni, had been largely influenced by Charlie Chaplin’s Great Dictator and Fellini’s Amarcord. Amarcord uses a similar style of the “death-haunted clowning”. He calls it clowing, because fascism is presented theatrically, like a circus, although not in a cheery light. Mr. Benigni relates it to the acts of the Italian clown Toto, whose presence brought laughter, even though he was certainly facing death in his acts.
Amarcord is something of a humorous, yet anti-fascist tale. Like Life is Beautiful, life under fascism is presented so theatrically, that it becomes ridiculous, almost to the point of humor. Although humor and fascism do not go hand in hand, Fellini was articulated humor, in order to take a jab at fascism’s absurdity. Fellini is not someone who holds any respect for fascist ideals, and he finds those ideals so fallacious, that they are comical.
Fascism and humor are conflicting themes. Fascism is not just a serious topic, the word itself implies conformity under a law and it challenges personal liberties. Humor thrives on ridicule, vulnerability and the upending of authority, while turning what is most important into an absurdity. Edward Rothstein discusses the use of humor in the film Life is Beautiful. The film attempts to fight fascism with humor. The main character is a Jewish bookseller persistent in keeping the monstrosity of the Holocaust from his son. He turns the horrors of the time into a game for the boy. This fantasy is possible, in part because the film plays on the innocence of a child. Although humor may be the strongest opposition to fascism, downplaying fascism may also downplay the hardships faced by its victims.
Life is Beautiful can be nightmarish, yet also grotesquely outrageous. At times, the humor of the film outplays the seriousness of the topic, and the concentration camps appear less appalling. However the film manages to properly preserve the main character’s trying efforts in the face of death. Rothstein calls this terror in the company of humor a “death-haunted clowning”. The writer and director of Life is Beautiful, Roberto Benigni, had been largely influenced by Charlie Chaplin’s Great Dictator and Fellini’s Amarcord. Amarcord uses a similar style of the “death-haunted clowning”. He calls it clowing, because fascism is presented theatrically, like a circus, although not in a cheery light. Mr. Benigni relates it to the acts of the Italian clown Toto, whose presence brought laughter, even though he was certainly facing death in his acts.
Amarcord is something of a humorous, yet anti-fascist tale. Like Life is Beautiful, life under fascism is presented so theatrically, that it becomes ridiculous, almost to the point of humor. Although humor and fascism do not go hand in hand, Fellini was articulated humor, in order to take a jab at fascism’s absurdity. Fellini is not someone who holds any respect for fascist ideals, and he finds those ideals so fallacious, that they are comical.