And the Ship sails On (The Criterion Collection)
by Federico Fellini
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DVD Cover Information
Actor: Barbara Jefford, Elisa Mainardi, Freddie Jones, Peter Cellier, Victor PolettiDirector: Federico Fellini
Brand: FELLINI,FEDERICO
Cinematographer: Giuseppe Rotunno
Writer: Federico Fellini
Editor: Ruggero Mastroianni
Producer: Aldo Nemni
Producer: Franco Cristaldi
Producer: Renzo Rossellini
Writer: Tonino Guerra
DVD: Region Code 0
Audio: English (Unknown); English (Subtitled); Italian (Original Language), Dolby Digital 2.0 Mono
Format: Color, DVD, Letterboxed, NTSC, Subtitled, Widescreen
Picture Format: 1.85:1
Running Time: 128 minutes
DVD Release Date: 1999-09-14
Audience Rating: PG (Parental Guidance Suggested)
Studio: Criterion
Movie Reviews of And the Ship sails On (The Criterion Collection)
Movie Review: A surreal visual feast
Summary: 5 Stars
Fellini's films, especially his latter day color films, are surreal visual experiences. If you're one who absolutely needs plot, linear structure, or character studies in your movies then chances are you'll probably hate just about every Fellini film you see and long for another Nights of Cabiria or La Strada. Granted, those are great films but in my opinion Fellini is at his best when he's directing opulent, extravangant, surreal Technicolored visual feasts like And The Ship Sails On.
The plot, what little there is, revolves around a ship full of artists, opera singers and aristicrats cruising to a remote island to scatter the ashes of a beloved opera singer. We're personally given a insight to all the people on board thanks to a journalist who is covering the event and speaks directly to us. We have a plump archbishop, his blind sister, a fellow opera singer jealous of the attention the dead opera singer is getting, a lovesick rhinocerose who stinks up the ship, a loud mouth tell-it-like-is Italian opera singer, fugitive Serbs, a philandering wife, a battleship and an ending worthy of Titanic
Fellini's use of soundstage special effects i.e. a shimmering blue cellophane sea or an obviously fake seagull flying into the dining hall window add to the wonderfully surreal dreamlike quality of the film. If you're a true Fellini fan you will not be disappointed. If you're a La Strada or Nights of Cabiria fan you'll most certianly hate this. And The Ship Sails On, like most Fellini films, requires you abandon all ideas of what a movie is and completely immerse yourself in Fellini's world. Oh yeah, it helps if you love opera. There's lots of gorgeous opera songs thorough out. Paired with Fellini's surreal eye, it creates yet another visual treat.
Summary of And the Ship sails On (The Criterion Collection)
In Fellini's quirky, imaginative fable, a motley crew of European aristocrats (and a lovesick rhinoceros!) board a luxurious ocean liner on the eve of World War I to scatter the ashes of a beloved diva. Fabricated entirely in Rome's famed Cinecittą studios, And the Ship Sails On (E la nave va) reaches spectacular new visual heights with its stylized re-creation of a decadent bygone era. Criterion is proud to present this rarely-seen gem in an exclusive widescreen transfer with new English subtitles.Federico Fellini's 1984 And the Ship Sails On is one of the late master's most fanciful projects, while simultaneously striking one of the most somber notes in the director's filmography. The year is 1914, the eve of World War I and the coming destruction of Europe's old, cultured aristocracy, an elite class mourned in many a film from Renoir's The Grand Illusion to Truffaut's The Green Room. A luxury liner sets sail from Italy, full of artists, a royal entourage, and one rhinoceros. The point of the voyage is to scatter the ashes of a world-famous diva, but the exotic passengers--blithely unaware of the imminent conflict--have many, more private intrigues going on behind closed doors. Still, it is the self-containment and formality of these travelers, at once absurd and moving, that sticks with the viewer: the way the many singers, musicians, and conductors (and one plump archduke) seem aware, in public, of embodying a privileged history. Fellini films all the action aboard an impressively lush and blatantly artificial set, with a painted sky, paper moon, and cellophane sea, all underscoring the dreamy, precious nature of this adventure. The camera itself becomes a kind of character via a determined journalist (Freddie Jones) who speaks to us directly, drawing the film into vaguely obscene disruptions of an otherwise serene formalism. --Tom Keogh
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