FEDERICO FELLINI: THE FILMS Ravishing his irresistible romanticism generally outweighed
in her evening gown, Anita Ekbergś stroll into the any heavy-handedness. The book makes it clear
waters of Romeś Trevi Fountain in
La Dolce Vita
is that vision and mood often came before plot, and
indelibly iconic. But did you know that beneath her most of his final films dispense with plot altogether.
frock she was donning thigh-high fishing boots? In A reprinted ˝holy warning˝ condemning
La Dolce
the voluptuous new volume
Federico Fellini: The Vita
for alleged licentiousness upon its release 50
Films
, author Tullio Kezich and editor Vittorio Boarini years ago serves as a reminder that Fellini, at the
bring together dozens of such wondrous stills and height of his fame, was a polarizing figure. As the
behind-the-scenes photos from all 25 of the maestroś unforgettable images in this book demonstrate, his
movies, along with revealing essays on the genesis of films have the last laugh n
Lawrence Levi, Federico
each. Kezich, who knew Fellini for decades, traces
Fellini: The Films, written by Tullio Kezich and edited
his progression from heartbreaking dramas (
Nights by Vittorio Boarini, Rizzoli rizzoliusa.com
of Cabiria
, 1957) to fanciful, introspective comedies (
8
, 1962) to hallucinatory nostalgia (
Amarcord
, 1974), even examining the witty TV commercials he made before his death in 1993. Felliniś colorful preparatory drawings—he was a cartoonist before turning to filmmaking—show the source of his films´ carnivalesque, dreamlike ambience. Asketchofhis wife, Giulietta Masina, as the pixieish clown Gelsomina in
La Strada
accentuates the characterś sweetness; a sketch of the Poe character Toby Dammit, played by Terence Stamp in the 1968 omnibus film
Spirits of the Dead
, emphasizes his ghoulishness. Felliniś main subject was alway
s
ensuality versus spirituality, but his satirical jabs and
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