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Movie Reviews of Fellini's RomaMovie Review: At the Top Summary: 5 Stars
Fellinis's Roma is the director's fanciful excursion into auto-biographical self-indulgence on a magical higher level. Filmed after his psychedelic "Satyricon", Fellini extends his series of dream-inspired visual classics. Make no mistake, at age 50, Fellini still had it. "Fellini Roma" is a plotless, visceral delight. It is perfect. From scenes of the Rome subway to Musolini's Fascist dynasty, "Fellinis Roma" encompases scenes from the director's life in 1931 up until the hippie onslaught around 1972. It doesn't make sense. It isn't supposed to. It's great art. It's eye candy. I'm going to put on the DVD again.
Movie Review: Crude and artistic Summary: 5 Stars
After watching this movie I am pretty sure it was not funded by the Rome Touristic Board. Crude, dirty, rainy, hot, sweaty, disorganized, all round mess it depicts almost every major citie's reality. This film is pure genius, a movie to own , not to rent.
Movie Review: Fellini in his prime. Summary: 5 Stars
What can I say? It's Fellini doing what he does best. As with other european movies, it's the antithesis of a Hollywood movie, which is to say that it's thought provoking and demanding of the viewer.
Movie Review: Fellini's Roma Summary: 5 Stars
As obtuse and out there as Fellini can be, I love him and his films. Roma is a classic.
Movie Review: Fellini's scenic trip through Rome...... Summary: 4 Stars
For those of you unfamiliar with the works of the late, great Italian director, Federico Fellini, ROMA is one of those films that gives you a small view of the pacing and style of his filmmaking. It is at once gaudy, bawdy, scenic, lovely and horrifying. Sometimes these feelings are simultaneous and other times they are sequential. For me, Roma felt like a series of animated postcards, taking a glimpse at "contemporary" Rome (the Rome of the 1970s, when this film was shot) in contrast with the Rome of decades before (the age of El Deuce and the height of Fascist rule). We see boisterous scenes from street life, a "typical" evening in an outdoor restaurant, shots comparing the "free love" attitude of the late 1960s and early 1970s with brothels of the 1930s, and just incidental shots of a colorful array of characters interacting with each other. Some of the venues include a burlesque theater, movie house and even a cathedral, where the cardinal pays a visit and stays for a one-of-a-kind fashion show, featuring the latest styles for priests and nuns (you just have to see the habits for yourself, to believe that they exist on film. I am thinking Flying Nun meets Flying Squirrel.).
I was really intrigued by Fellini's use of spontaneity, incidental connectedness with his subjects, and backhanded humor. For me, the narration at the beginning made the film feel like we were watching it from the unseen "third person" that often tells a story from the perspective of a fly on the wall. Our narrator makes a brief on screen appearance, but, otherwise, his narration his minimal throughout the course of the story. That really opens up the atmosphere of the film and allows us to really have our own experience with the visceral animated portrait we are presented with. It ends as suddenly as it starts, and you feel as though you have just went on the strangest journey to the "eternal city," except you aren't sure what kind of acid trip you went on to get there! But, however strong the drug concoction, it is ultimately a beautiful and interchangeably odd ride.
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