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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.