Federico Fellini at the set of Otto e Mezzo (1963)
Swiss postcard by Musée de l'Elysée, Lausanne / News Productions, Baulmes, no. 55108. Photo: Michelangelo Durazzo / AMA, Paris. Federico Fellini directing a scene of the film 8½ (1963).
Italian film director and screenwriter Federico Fellini (1920-1993) was one of the most influential filmmakers of all time. He was known for his distinct style that blends fantasy and baroque images with earthiness. In a career spanning almost fifty years, Fellini won the Palme d'Or for La Dolce Vita (1960), was nominated for twelve Academy Awards. He won an Oscar for La Strada (1954), Le notti di Cabiria (1957), 8½ (1963) and Amarcord (1973).
Federico Fellini was born in 1920 in Rimini in the Emilia-Romagna region. His native Rimini and characters there like Saraghina (the devil herself said the priests who ran his school) - and the Gambettola farmhouse of his paternal grandmother would later be remembered in several of his films. His traveling salesman father Urbano Fellini showed up in La dolce vita (1960) and 8½ (1963). His mother Ida Barbiani was from Rome and accompanied him there in 1939. Fellini's first passion was the theater, and at the age of 12, he briefly ran away from home to join the circus, later entering college solely to avoid being drafted. He enrolled in the University of Rome. Intrigued by the image of reporters in American films, he tried out the real-life role of a journalist. Additionally, Fellini worked as an artist on fumetti (Italy's illustrated magazines), and occasionally even made his living as a caricaturist at Roman restaurants. He caught the attention of several editors with his caricatures and cartoons and then started submitting articles. Several articles were recycled into a radio series about newlyweds 'Cico and Pallina'. Pallina was played by acting student Giulietta Masina, who became Fellini's real-life wife in 1943. They remained together until his death. The young Fellini loved vaudeville and was befriended in 1939 by leading comedian Aldo Fabrizi. Fabrizi recruited Fellini to supply stories and ideas for his performances; between 1939 and 1944. The two men worked in tandem on a number of largely forgotten comedies, among them No Me Lo Dire, Quarta Pagina, and Campo de Fiori. When young director Roberto Rossellini wanted Fabrizi to play Don Pietro in Roma città aperta (Roberto Rosselini, 1945), he made the contact through Fellini. Fellini worked on that film's script and is on the credits for Rosselini's Paisà (Roberto Rosselini, 1946). Dale O'Connor at IMDb: "On that film, he wandered into the editing room, started observing how Italian films were made (a lot like the old silent films with an emphasis on visual effects, dialogue dubbed in later). Fellini in his mid-20s had found his life's work."
Federico Fellini collaborated on films by Pietro Germi (including In Nomine Della Legge and Il Cammino Della Speranza) and Alberto Lattuda (Il Delitto di Giovanni Episcopo and Il Mulino del Po), among others. In 1948, Fellini completed the screenplay for Il Miracolo, the second and longer section of Rossellini's two-part effort Amore. Here Fellini's utterly original worldview first began to truly take shape in the form of archetypal characters (a simple-minded peasant girl and her male counterpart, a kind of holy simpleton), recurring motifs (show business, parties, the sea), and an ambiguous relationship with religion and spirituality. He further explored this in his script for Rossellini's Francesco, Giullare di Dio (Roberto Rosselini, 1949). In 1950, Fellini made his first attempt at directing one of his own screenplays (with help of Alberto Lattuda), Luci del Varieta (Federico Fellini, Alberto Lattudada, 1950), which further developed his fusion of neorealism with the atmosphere of surrealism. Fellini then directed the romantic satire Lo Sciecco Bianc. The film marked his first work with composer Nino Rota. Fellini's initial masterpiece, I Vitteloni, followed in 1953. The first of his features to receive international distribution, it later won the Silver Lion at the Venice Film Festival, the first of many similar honours. The brilliant La Strada followed in 1954, also garnering the Silver Lion as well as the Oscar for Best Foreign Language Picture. After helming Il Bidone (1955), Fellini and a group of screenwriters (including a young Pier Paolo Pasolini) began work on Le Notti di Cabiria (1956), which also won an Oscar. Then he mounted La Dolce Vita (1960), the first of his pictures to star actor Marcello Mastroianni. He would become Fellini's cinematic alter ego over the course of several subsequent collaborations, its portrait of sex and death in Rome's high society created a tremendous scandal at its Milan premiere, where the audience booed, insulted, and spat on the director. Regardless, La Dolce Vita won the Palm d'Or at the Cannes Film Festival and remains a landmark in cinematic history.
During the 1960s, many films by Federico Fellini were influenced by the work of Swiss psychiatrist Carl Jung and his ideas on the role of archetypes and the collective unconscious. The women who had both attracted and frightened him in his youth and an Italy dominated in his youth by Mussolini and Pope Pius XII inspired Fellini's dreams. In the 1960s, he started to record them in notebooks, and life and dreams became the raw material for such films as 8½ (1963) or Fellini - Satyricon (1969). With 1965's Giulietta Degli Spiriti, Fellini worked for the first time in color. After experimenting with LSD under the supervision of doctors, he began scripting Il Viaggio di G. Mastorna. Over a year of pre-production followed, hampered by difficulties with producers, actors, and even a jury trial. Finally on April 10th, 1967, Fellini suffered a nervous breakdown, resulting in a month-long nursing homestay. Ultimately, he gave up on ever bringing Il Viaggio di G. Mastorna to the screen, and his new producer, Alberto Grimaldi, was forced to buy out former producer Dino De Laurentis for close to half a billion liras. As the decade drew to a close, Fellini returned to work with a vengeance, first resurfacing with Toby Dammitt, a short feature for the collaborative film Tre Passi nel Delirio. Turning to television, he helmed Fellini: A Director's Notebook, a one-hour special for NBC, followed by the feature effort Fellini Satyricon. I Clown followed in 1970, with Roma bowing in 1972. Amarcord, a childhood reminiscence, won a fourth Academy Award in 1974. It proved to be his final international success. He later shot Il Casanova di Federico Fellini (1976), Prova d'Orchestra (1979), and La Citta delle Donne (1980), which were less successful. Fellini turned to publishing with Fare un Film, an anthology of notes about his life and work. E la Nave Va (1983) and Ginger e Fred (1985) followed, but by the time of L'Intervista (1987), he was facing considerable difficulty finding financing for his projects. His last completed film was La Voce Della Luna (1989). In the early 1990s, Fellini helmed a handful of television commercials, and in 1993 he won his fifth Academy Award for a lifetime of service to the film industry. In 1993, Federico Fellini died the day after his 50th wedding anniversary. He was 73 years old. Jason Ankeny at AllMovie: "One of the most visionary figures to emerge from the fertile motion picture community of postwar-era Italy, Federico Fellini brought a new level of autobiographical intensity to his craft; more than any other filmmaker of his era, he transformed the realities of his life into the surrealism of his art. Though originally a product of the neorealist school, the eccentricity of Fellini's characterizations and his absurdist sense of comedy set him squarely apart from contemporaries like Vittorio De Sica or Roberto Rossellini, and at the peak of his career his work adopted a distinctively poetic, flamboyant, and influential style so unique that only the term "Felliniesque" could accurately describe it. "
Source: Jason Ankeny (AllMovie), Dale O' Connor (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Federico Fellini at the set of Otto e Mezzo (1963)
Swiss postcard by Musée de l'Elysée, Lausanne / News Productions, Baulmes, no. 55108. Photo: Michelangelo Durazzo / AMA, Paris. Federico Fellini directing a scene of the film 8½ (1963).
Italian film director and screenwriter Federico Fellini (1920-1993) was one of the most influential filmmakers of all time. He was known for his distinct style that blends fantasy and baroque images with earthiness. In a career spanning almost fifty years, Fellini won the Palme d'Or for La Dolce Vita (1960), was nominated for twelve Academy Awards. He won an Oscar for La Strada (1954), Le notti di Cabiria (1957), 8½ (1963) and Amarcord (1973).
Federico Fellini was born in 1920 in Rimini in the Emilia-Romagna region. His native Rimini and characters there like Saraghina (the devil herself said the priests who ran his school) - and the Gambettola farmhouse of his paternal grandmother would later be remembered in several of his films. His traveling salesman father Urbano Fellini showed up in La dolce vita (1960) and 8½ (1963). His mother Ida Barbiani was from Rome and accompanied him there in 1939. Fellini's first passion was the theater, and at the age of 12, he briefly ran away from home to join the circus, later entering college solely to avoid being drafted. He enrolled in the University of Rome. Intrigued by the image of reporters in American films, he tried out the real-life role of a journalist. Additionally, Fellini worked as an artist on fumetti (Italy's illustrated magazines), and occasionally even made his living as a caricaturist at Roman restaurants. He caught the attention of several editors with his caricatures and cartoons and then started submitting articles. Several articles were recycled into a radio series about newlyweds 'Cico and Pallina'. Pallina was played by acting student Giulietta Masina, who became Fellini's real-life wife in 1943. They remained together until his death. The young Fellini loved vaudeville and was befriended in 1939 by leading comedian Aldo Fabrizi. Fabrizi recruited Fellini to supply stories and ideas for his performances; between 1939 and 1944. The two men worked in tandem on a number of largely forgotten comedies, among them No Me Lo Dire, Quarta Pagina, and Campo de Fiori. When young director Roberto Rossellini wanted Fabrizi to play Don Pietro in Roma città aperta (Roberto Rosselini, 1945), he made the contact through Fellini. Fellini worked on that film's script and is on the credits for Rosselini's Paisà (Roberto Rosselini, 1946). Dale O'Connor at IMDb: "On that film, he wandered into the editing room, started observing how Italian films were made (a lot like the old silent films with an emphasis on visual effects, dialogue dubbed in later). Fellini in his mid-20s had found his life's work."
Federico Fellini collaborated on films by Pietro Germi (including In Nomine Della Legge and Il Cammino Della Speranza) and Alberto Lattuda (Il Delitto di Giovanni Episcopo and Il Mulino del Po), among others. In 1948, Fellini completed the screenplay for Il Miracolo, the second and longer section of Rossellini's two-part effort Amore. Here Fellini's utterly original worldview first began to truly take shape in the form of archetypal characters (a simple-minded peasant girl and her male counterpart, a kind of holy simpleton), recurring motifs (show business, parties, the sea), and an ambiguous relationship with religion and spirituality. He further explored this in his script for Rossellini's Francesco, Giullare di Dio (Roberto Rosselini, 1949). In 1950, Fellini made his first attempt at directing one of his own screenplays (with help of Alberto Lattuda), Luci del Varieta (Federico Fellini, Alberto Lattudada, 1950), which further developed his fusion of neorealism with the atmosphere of surrealism. Fellini then directed the romantic satire Lo Sciecco Bianc. The film marked his first work with composer Nino Rota. Fellini's initial masterpiece, I Vitteloni, followed in 1953. The first of his features to receive international distribution, it later won the Silver Lion at the Venice Film Festival, the first of many similar honours. The brilliant La Strada followed in 1954, also garnering the Silver Lion as well as the Oscar for Best Foreign Language Picture. After helming Il Bidone (1955), Fellini and a group of screenwriters (including a young Pier Paolo Pasolini) began work on Le Notti di Cabiria (1956), which also won an Oscar. Then he mounted La Dolce Vita (1960), the first of his pictures to star actor Marcello Mastroianni. He would become Fellini's cinematic alter ego over the course of several subsequent collaborations, its portrait of sex and death in Rome's high society created a tremendous scandal at its Milan premiere, where the audience booed, insulted, and spat on the director. Regardless, La Dolce Vita won the Palm d'Or at the Cannes Film Festival and remains a landmark in cinematic history.
During the 1960s, many films by Federico Fellini were influenced by the work of Swiss psychiatrist Carl Jung and his ideas on the role of archetypes and the collective unconscious. The women who had both attracted and frightened him in his youth and an Italy dominated in his youth by Mussolini and Pope Pius XII inspired Fellini's dreams. In the 1960s, he started to record them in notebooks, and life and dreams became the raw material for such films as 8½ (1963) or Fellini - Satyricon (1969). With 1965's Giulietta Degli Spiriti, Fellini worked for the first time in color. After experimenting with LSD under the supervision of doctors, he began scripting Il Viaggio di G. Mastorna. Over a year of pre-production followed, hampered by difficulties with producers, actors, and even a jury trial. Finally on April 10th, 1967, Fellini suffered a nervous breakdown, resulting in a month-long nursing homestay. Ultimately, he gave up on ever bringing Il Viaggio di G. Mastorna to the screen, and his new producer, Alberto Grimaldi, was forced to buy out former producer Dino De Laurentis for close to half a billion liras. As the decade drew to a close, Fellini returned to work with a vengeance, first resurfacing with Toby Dammitt, a short feature for the collaborative film Tre Passi nel Delirio. Turning to television, he helmed Fellini: A Director's Notebook, a one-hour special for NBC, followed by the feature effort Fellini Satyricon. I Clown followed in 1970, with Roma bowing in 1972. Amarcord, a childhood reminiscence, won a fourth Academy Award in 1974. It proved to be his final international success. He later shot Il Casanova di Federico Fellini (1976), Prova d'Orchestra (1979), and La Citta delle Donne (1980), which were less successful. Fellini turned to publishing with Fare un Film, an anthology of notes about his life and work. E la Nave Va (1983) and Ginger e Fred (1985) followed, but by the time of L'Intervista (1987), he was facing considerable difficulty finding financing for his projects. His last completed film was La Voce Della Luna (1989). In the early 1990s, Fellini helmed a handful of television commercials, and in 1993 he won his fifth Academy Award for a lifetime of service to the film industry. In 1993, Federico Fellini died the day after his 50th wedding anniversary. He was 73 years old. Jason Ankeny at AllMovie: "One of the most visionary figures to emerge from the fertile motion picture community of postwar-era Italy, Federico Fellini brought a new level of autobiographical intensity to his craft; more than any other filmmaker of his era, he transformed the realities of his life into the surrealism of his art. Though originally a product of the neorealist school, the eccentricity of Fellini's characterizations and his absurdist sense of comedy set him squarely apart from contemporaries like Vittorio De Sica or Roberto Rossellini, and at the peak of his career his work adopted a distinctively poetic, flamboyant, and influential style so unique that only the term "Felliniesque" could accurately describe it. "
Source: Jason Ankeny (AllMovie), Dale O' Connor (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.