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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
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.
belongs to Fellini's Amarcord and Fascism in Italy project
tagged characters childhood fascism fellini film interview by lorenyu ...on 10-APR-08
tagged characters childhood fascism fellini film interview by lorenyu ...on 10-APR-08
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.
belongs to Fellini's Amarcord and Fascism in Italy project
tagged amarcord fascism fellini film france gestapo italy lacombelucien by lorenyu ...on 10-APR-08
tagged amarcord fascism fellini film france gestapo italy lacombelucien by lorenyu ...on 10-APR-08
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.