The films of Federico Fellini 9780521573252, 9780511090264, 9780521575737

Table of contents :
Frontmatter
List of Illustrations (page xi)
Introduction (page 1)
1 Federico Fellini: A Life in the Cinema (page 7)
2 La strada: The Cinema Poetry and the Road beyond Neorealism (page 43)
3 La dolce vita: The Art Film Spectacular (page 65)
4 8 ½: The Celebration of Artistic Creativity (page 93)
5 Amarcord: Nostalgia and Politics (page 117)
6 Intervista: A Summation of a Cinematic Career (page 141)
Notes (page 163)
Selected Bibliography on Federico Fellini (page 177)
A Fellini Filmography: Principal Credits (page 185)
List of Additional Films Cited (page 197)
Index (page 201)

Citation preview

The Films of Federico Fellini The Films of Federico Fellini examines the career of one of Italy’s most renowned filmmakers through close analysis of five masterpieces that span his career: La strada, La dolce vita, 81/2, Amarcord, and Intervista. Providing an overview of Fellini’s early career

as a cartoonist and scriptwriter for neorealist directors such as Roberto Rossellini, this study traces the development of Fellini’s unique and personal cinematic vision as it transcends Italian neorealism. Rejecting an overtly ideological approach to Fellini’s cinema, Bondanella emphasizes the director’s interest in fantasy, the

irrational, and individualism. Peter Bondanella is Distinguished Professor of Comparative Literature, Film Studies, Italian, and West European Studies at Indiana

University. He is the author of numerous books and articles on Italian cinema, including The Films of Roberto Rossellini and Italian Cinema: From Neorealism to the Present.

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CAMBRIDGE FILM CLASSICS General Editor: Ray Carney, Boston University

The Cambridge Film Classics series provides a forum for revisionist studies of the classic works of the cinematic canon from the perspective of the “new auterism,” which recognizes that films emerge from a complex interaction of bureaucratic, technological, intellectual, cultural, and personal forces. The series consists of concise, cutting-edge reassessments of the canonical works of film study, written by innovative scholars and critics. Each volume provides a general introduction to the life and work of a particular director, followed by critical essays on several of the director’s most important films. Other Books in the Series: Peter Bondanella, The Films of Roberto Rossellini Peter Brunette, The Films of Michelangelo Antonioni Ray Carney, The Films of John Cassavetes Ray Carney and Leonard Quart, The Films of Mike Leigh Sam B. Girgus, The Films of Woody Allen Robert Phillip Kolker and Peter Beicken, The Films of Wim Wenders Amy Lawrence, The Films of Peter Greenaway

Scott MacDonald, Avant-Garde Film James Naremore, The Films of Vincente Minnelli James Palmer and Michael Riley, The Films of Joseph Losey Scott Simmon, The Films of D. W. Griffith David Sterritt, The Films of Alfred Hitchcock David Sterritt, The Films of Jean-Luc Godard Maurice Yacowar, The Films of Paul Morrissey

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The Films of Federico Fellini

Peter Bondanella Indiana University

CAMBRIDGE

5) UNIVERSITY PRESS

PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE

The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS

The Edinburgh Building, Cambridge cB2 2Ru, UK 40 West 20th Street, New York, Ny roorr-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarc6n 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Peter Bondanella 2002

This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements,

no reproduction of any part may take place without the written perrnission of Cambridge University Press.

First published 2002

Typeface Sabon 10/13.5 pt. System QuarkXpress® = [MG] A catalog record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Bondanella, Peter E., 1943The films of Federico Fellini /Peter Bondanella. p. cm. — (Cambridge film classics) Includes bibliographical references and index. ISBN O §2I §7325 4 — ISBNO §21 §7573 7 (pb.)

1. Fellini, Federico — Criticism and interpretation. I. Title. II. Series. PN1998.3.F4§ B66§ 2001

791.43 0233 092-DC2I 2001035147 ISBN © §21 §7325 4. hardback ISBN 0 §21 57573 7 paperback

Transferred to digital printing 2004

For Dante and Gianluca

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Contents

List of Illustrations page xi

Introduction I

1 Federico Fellini: A Life in the Cinema 7 2 La strada: The Cinema of Poetry and the Road

beyond Neorealism 43

3 La dolce vita: The Art Film Spectacular 65 4 81/2: The Celebration of Artistic Creativity 93

5 Amarcord: Nostalgia and Politics 117

Notes : 163

6 Intervista: A Summation of a Cinematic Career 141

Selected Bibliography on Federico Fellini 177 A Fellini Filmography: Principal Credits 185

Index 201 1X }

List of Additional Films Cited 197

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Illustrations

Nino Za’s sketch of Fellini (1942), a drawing that remained on

Fellini’s desk until his death page 13

Fellini 15

On location during the shooting of the monastery sequence of Paisa: Roberto Rossellini, a young monk, and an even younger Federico

Fellini’s directorial debut in Luci del varieta: Liliana (Carlo Del Poggio) and Checco (Peppino De Filippo) provide a bittersweet vision of the

world of show business 19 Ivan Cavalli (Leopoldo Trieste) is chased by a parade of bersaglien troops in Lo sceicco bianco, a financial failure now recognized as a

comic masterpiece 20-1 In Fellini’s first commercial success, I vitelloni, a drunken Alberto in

drag (Alberto Sordi) dances with a carnival reveler 23 In re-creating the sensual celebration of Trimalchio’s banquet from The Satyricon of Petronius, Fellini presented one of the very few scenes

taken directly from the literary source in his film Satyricon 30

fashion parade in Roma 32 A preparatory drawing by Fellini for a cardinal’s hat in his ecclesiastical

Some of the cardinals actually represented in the film Roma based on

preliminary sketches by Fellini 32 Xi

Three different sketches for cardinals to be included in the ecclesiastical fashion parade in Roma: the figures are compared to a cuttlefish bone,

a ray of light, and a pinball-machine flipper 33 A pensive Fellini on the set of I! Casanova di Fellini, a financial failure but

an artistic masterpiece attacking the perennial myth of the Latinlover 34 On an outdoor location shooting La citta delle donne, Fellini shows Snaporaz (Marcello Mastroianni) how to kiss the enigmatic lady on the train (Bernice Stegers) who lures the film’s protagonist to the feminist

convention 35 E la nave va 36 Fellini’s crew builds a scale model of the ocean liner employed in

Amelia (Giulietta Masina) and Pippo (Marcello Mastroianni) — once partners in a dance routine — are presented to the television audience

by the master of ceremonies (Franco Fabrizi) in Ginger e Fred 37

Fellini on the set of his penultimate picture, Intervista 38-9 Well before his rise to international fame as the director of La vita é bella (Life Is Beautiful), Fellini recognized the comic genius of Roberto Benigni, casting him as Ivo, the slightly deranged protagonist

of his final film, La voce della luna AI

In La strada, after Zampano (Anthony Quinn) buys Gelsomina

(Giulietta Masina) from her mother, he feigns kindness to her family 49 The Fool (Richard Basehart) teaches Gelsomina (Giulietta Masina)

how to play the trombone 50-1 In their typical costumes, the Fool (Richard Basehart) and Gelsomina (Giulietta Masina) clearly represent comic types associated with the

Italian commedia dell’arte 52 Gelsomina (Giulietta Masina), praised by critics as the “female Charlie

Chaplin,” displays her unforgettable face 53 The deserted road, on which the characters of La strada travel,

represents one of the most expressive poetic images of the film 60-1 Steiner (Alain Cuny), the world-weary intellectual and friend of

Marcello, commits suicide after killing his children 71 The enormous set re-creating Rome’s Via Veneto inside the studios

of Cinecitta for La dolce vita 76-7

A scene from the famous “orgy” sequence of La dolce vita: Marcello (Marcello Mastroianni) humiliates a drunken woman while the

revelers dance and watch 78 X11

The conclusion of the “orgy” sequence in La dolce vita with a striptease

by Nadia (Nadia Gray) to celebrate her divorce 79

Marcello Mastroianni, Fellini, and one of his crew examine the monster

fish created for the conclusion of La dolce vita 79 Sylvia (Anita Ekberg) arrives at Rome’s airport 84-5 Marcello (Marcello Mastroianni) and Sylvia (Anita Ekberg) during their historic wade into the Trevi Fountain, a scene still remembered

by countless tourists to the Eternal City 88-9 One of Fellini’s dream sketches dated 12 November 1961 and drawn

during the time 874 was being prepared 95 Guido (Marcello Mastroianni) is relentlessly criticized by the French

critic Daumier (Jean Rougeul) 99 In one of Guido’s dream sequences, the director (Marcello Mastroianni), dressed in the outfit he wore as a young boy in his boarding school,

helps his father (Annibale Ninchi) descend into his tomb 103 Maurice the telepath (Ian Dallas) reads the mind of Guido (Marcello

Mastroianni), uncovering the mysterious phrase ASA NISI MASA 104 The famous flashback to La Saraghina (Edra Gale), the huge prostitute whose dance on the beach prompted the traumatic punishment of the young Guido (Marco Gemini), here pictured in his black school

uniform with his other classmates 106-7

The magic metaphor for artistic creation in 87/2 — the circus ring — just before Guido (Marcello Mastroianni) joins the characters he

has created in the concluding dance of the film 112-13 Outside the Cinema Fulgor in Amarcord, Gradisca (Magali Noel), “Ronald Colman” (Mario Liberati), and a number of the townspeople of Amarcord gather before the shrine to Hollywood mythology in

the Italian provinces 124-5

Amarcord 126-7 The passage of the ocean liner Rex, symbol of the Fascist regime in Titta (Bruno Zanin) unsuccessfully attempts to seduce Gradisca

(Magali Noel) in the Cinema Fulgor 133

Antonietta Beluzzi) 135 Titta (Bruno Zanin) tries to lift the enormous tobacconist (Maria

Young Italians dream of an ideal Fascist marriage before a bust of

Mussolini in a fantasy sequence of Amarcord 136-7 XU

Intervista 148-9 Fellini directs the photography of the scale model of Rome’s Cinecitta, the enormous studio complex outside the city that is the true star of Fellini re-creates the kind of lavish historical set typical of films of

the 1940s, the period when he first visited Cinecitta 152-3 Stepping into the scene that re-creates a film director’s tirade during the 1940s, Fellini shows the actor playing the director how to play the

scene and when the fake elephants should be knocked over 155 Marcello Mastroianni magically appears outside Fellini’s office while he is shooting a television commercial on the lot of Cinecitta in Intervista 157

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Introduction

The Films of Federico Fellini provides an introductory overview of the Italian director’s life and work, with particular focus upon five impor-

tant films: La strada, La dolce vita, 81/2, Amarcord, and Intervista. The first four works were incredibly successful, both critically and commercially, winning numerous awards and establishing Fellini’s international reputation as Italy’s most important film director. The last work, Fellini’s penultimate film, provides a summary of Fellini’s cinematic universe and analyzes the nature of cinema itself. The series in which this book appears — Cambridge Film Classics, under the general editorship of Ray Carney — aims at providing “a forum for revisionist studies of the classic works of the cinematic canon from the perspective of the ‘new auteurism,’ which recognizes that films emerge from a complex interaction” of various forces and are not only the result of a director’s genius. I accept and even embrace the correc-

tives supplied to auteur criticism, which underline the importance of economic, political, cultural, bureaucratic, and technical factors in addition to the influence of the creative director. However, in the case of Federico Fellini, we have the archetypal case of the “art film” director. Indeed, the very name Fellini has come to stand for the art film itself and for the kind of creative genius that produced this phenomenon, so crucial a part of the film culture of the 1960s and 1970s. Inevitably, the critical pendulum would swing in the opposite direction, since au-

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teur critics celebrated the director as superstar, concentrating upon such figures as Antonioni, Bergman, Bufiuel, Fellini, Hitchcock, and Welles. Much contemporary film criticism emphasizes a sociological or psychological explanation of cinema and is suspicious of any statements about “original genius.” Many who write on the cinema ignore its aes-

thetic qualities and even refuse to describe or evaluate a work as a “masterpiece.” I do not share these prejudices. Moreover, I believe that

film historians and critics have an obligation not only to understand the development of this uniquely modern art form but also to assist in the formulation of better taste among filmgoers. Notions of gender, race, class, and culture (understood as a superstructure reflection of class or power relationships, one of the few Marxist ideas that still retains great credibility among academic film critics) have often replaced aesthetic criteria in the literature. Almost no respectable film critic is willing to discuss the emotional appeal of a film because a Brechtian aesthetics — so popular among the followers of Godard and company, or their acolytes in the academy practicing cultural studies — holds incorrectly that when a film appeals to the emotions, it must, of necessity, employ emotional appeal as an ideological sham. In fact, few critics or historians remain concerned with appreciating a film as either a cleverly told story or a beautifully crafted series of visual images. Gender, race, class, and the other sociological flavors of the moment are seen as the dominant critical categories of value, with much else of interest either ignored or ridiculed. So what is the scholar to do with the cinema of Federico Fellini? His films represent a series of complex chapters in the creation of a unique,

private, and personal world of poetic, lyrical, visual images. Fellini stands in complete contrast to the prevailing conventional wisdom of the academy, for if his cinema represents any ideological stand, it is a courageous defense of the imagination as a valid category of knowing and understanding and a rejection of “group thought,” political correctness, or sociological explanations of art in favor of the individual imagination and the personal creative act. It is, of course, a truism that film is a collaborative business; but there are collaborations of entirely different kinds. Nothing could be further from Hollywood industrial practice than the manner in which Fellini continued to work throughout his career. His cinema might better be compared to the art produced in the workshop of a Renaissance painter, such as Titian or Mi-

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chelangelo, than to an industrial product. Every one of Fellini’s films was scripted personally by the director, assisted by a very small group of his trusted collaborators whose sensibilities were similar or complementary to Fellini’s. These included Tullio Pinelli, Ennio Flaiano, Brunello Rondi, Tonino Guerra, Bernardino Zapponi, and Gianfranco Angelucci. Virtually every detail — costumes, makeup, lighting, sets — of every film was minutely sketched out by Fellini with his famous felttip-marker drawings that were then given to each of his collaborators to underline exactly how the Maestro wished a detail to be constructed visually. Nino Rota contributed the sound tracks for his works from his first film through 1979; after his death, Rota was replaced by Luis Bacalov, Gianfranco Plenizio, and Nicola Piovani. Fellini worked with a small group of great cameramen: Otello Martelli, Gianni di Venanzo, Giuseppe Rotunno, Pasquale De Santis, Dario Di Palma, and Tonino Delli Colli. The list could be continued for each category of Fellini’s productions: editing (Leo Catozzo, Ruggero Mastroianni, Nino Baragli) and set design (Piero Gherardi, Donato Donati, Dante Ferretti). More than just professional colleagues, Fellini’s collaborators were friends of long standing as well as consummate professionals, but the atmosphere on a Fellini set (as chronicled in a large number of publications devoted to Fellini’s actual work practices) was always one of adventure, discovery, innovation, and creative improvisation. Many of his best works took shape in the studios of Cinecitta (especially the famous Teatro 5, the largest studio in Europe). There, Fellini could control everything — light in particular — unlike the less predictable real locations preferred by the neorealists with whom Fellini learned his trade. Fellini has frequently compared his set to an ocean voyage like that of Columbus toward the New World: The crew constantly attempts to turn back but the director-captain must somehow lead them all to a successful landing. Once again, the model of the Renaissance artists’ bottega or workshop provides a more suggestive image for the personal creativity associated with Fellini’s cinema than the industrialized production methods typical of the contemporary Hollywood studio. We know, for example, that many of Titian’s great canvases bear the mark of many shop assistants and apprentices, but the grand overarching design and the most important parts of the canvas were reserved for the master’s hand, who was also the workshop manager, and whose genius

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guided the others. A Titian painting is no less a Titian because of the contributions of his assistants. In like manner, a Fellini film is as close to being the reflection of a single personality as one can come in the industrial art form that is the cinema. None of Fellini’s collaborators has ever claimed that any of his films were not ultimately the reflection of a single artist, Federico Fellini. Their collaboration was almost entirely aimed at helping Fellini arrive at the expression of his own visual fantasies. It would be fair to say that if there is a outer limit to the power of the auteur, Fellini certain approached it and even stretched it significantly in comparison to other directors of the postwar period. In spite of the attempts of academic film critics to marginalize his works because of their supposedly deficient levels of politically correct ideas about women or life in general, Fellini continues to enjoy a healthy respect among serious moviegoers as well as those who actually work in the international film industry. Fellini was a consummate showman, not only an artistic genius but also a master magician and even something of a con man. He was a believer in the power of illusion

and prestidigitation, an artist who preferred artifice to reality, and a man who believed that dreams were the most honest expression possible for a human being. In a revealing conversation with the creator of a BBC documentary on his life and work entitled Real Dreams: Into the Dark with Federico Fellini, the director recounted how he was often asked by taxi drivers in Rome, with a bit of embarrassment, why he insisted — as they believed — in making films in which “you can’t understand anything”: “Ma perché, Signor Fellini, lei fa dei film dove non ci si capisce niente?”

(“But, Signor Fellini, why do you make films where nobody understands anything?”) Far from being insulted, Fellini valued such an honest (if naive) question, since it revealed something of importance about the purpose of his work. Thinking back on the question, he said to the BBC journalist: It is understandable that when one is so sincere, little is understood. ... Itisa lie that is clear. Everybody understands a lie. But the truth or sincerity pronounced without ideological protections — and therefore other lies — is extremely difficult to grasp. When a man speaks honestly, sincerely about himself, I believe he truly presents himself in his most complex, contradictory, and, therefore, most ambiguous attitude. |

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It would be difficult to find a statement designed to infuriate contemporary film critics more than Fellini’s belief that an artist can speak sincerely and directly to a spectator of a film and that the film, considered foremost as a work of art, represents primarily a moment of artistic expression that establishes a mysterious relationship between storyteller (Fellini) and viewer (the public). The visual images narrating the director’s story are ultimately derived from the director’s dream life. Rather than ideological pronouncements, Fellini’s images typically aim at the communication of emotions or sentiments rather than ideological state-

ments. Fellini honestly (some would say, naively) believed that one human being can communicate something of significance to another, without ideological interference. Much of contemporary film criticism is premised on the assumption that such a thing is impossible.” With an artist of Fellini’s stature, the moments of intense emotional communication his films inspire in their viewers more than justify their study and continuous rescreening. There are images in a work by Fellini that cannot be reproduced by any other filmmaker and are so clearly a product of a single style and a unique sensibility that they could never be mistaken for the style of any other director. Some of these include Zampan0o’s single tear on the beach at the conclusion of La strada when he realizes that Gelsomina will never return; the magic moment when Marcello Mastroianni and Anita Ekberg enter Rome’s Trevi Fountain in La dolce vita; the mysteriously festive circle of artistic creativity that concludes 87/2 after the director Guido Anselmi has concluded his film must end because he has nothing to say; the unforgettable appearance of the patently cardboard ocean liner Rex in Amarcord; and Casanova’s dream of a waltz with a wooden doll (the only woman with whom he has had a successful sexual liaison) upon a frozen Venetian lagoon. The list of such sublime epiphanies in Fellini’s cinema could be lengthened, but the point is simple. No other Italian director, and perhaps no other director in the history of the cinema, has relied so much upon his Own private resources to communicate with us through what he hopes will be universal images, images that awaken in us something that is, in the Jungian sense, archetypal. Besides being a storyteller, Fellini was

essentially a poet. He created his visual images primarily through an examination of his own dream life, and when his personal expression succeeded in tapping into a similar visual experience in his audience, this linkage, this reception of a personal form of poetic communica-

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tion, created a powerful emotional experience that is often unforgettable. If Fellini’s attempts to delve into the depths of the human imagination may explain his impact upon individual filmgoers, Fellini’s obses-

sion with the irrational is also the aspect of his fantasy that frightens most film critics, whose task is normally to explain rather than to argue (as Fellini himself often asserts) that rational explanations are fruitless. It is this dilemma that a Fellini critic must face squarely: how to apply

rational and critical discourse to a cinema that fundamentally privileges fantasy, imagination, and the irrational. I trust that the reader will judge my attempt to do so suggestive and even provocative.

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I Federico Fellini A Life in Cinema

When Federico Fellini died on 31 October 1993, he had reached the pinnacle of international success. In April of that year, the American Academy of Motion Pictures and Sciences had honored him with a lifetime achievement, an Honorary Award for his entire career. This was his fifth Oscar, after earlier awards in the category of Best Foreign Film for La strada (1954), Le notti di Cabiria (The Nights of Cabiria, 1957), 81/4 (1963), and Amarcord (1973), not to mention numerous nomina-

tions and awards in the technical categories for a number of films.! Similar lifetime-achievement awards had earlier been given to Fellini in 1974 by the Cannes Film Festival, and in 1985 by both the Venice Biennale and the Film Society of Lincoln Center. On Broadway, Fellini films inspired important musicals: The Bob Fosse—directed Sweet Charity (1965; film 1969) was based upon Le notti di Cabiria, whereas Fosse’s Nine (1981) and earlier film All That Jazz (1979) both owed their origins to Fellini’s masterpiece, 81/2. References to Fellini or direct citations of his work are found in a wide variety of films by very different directors: Lina Wertmiiller’s Pasqualino Settebellezze (Seven Beauties, 1976), Woody Allen’s Stardust Memories (1980) or The Purple Rose of Cairo (1985), Giuseppe Tornatore’s Nuovo Cinema Paradiso (Cinema Paradiso, 1988) and L’uomo delle stelle (The Star Maker, 1996), or Joel Shumacher’s Falling Down (1993). Television commercials for various products have frequently employed parodies of Fellini’s style.

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In 1992, a Sight and Sound poll asked two groups of individuals for their estimations of which film directors and which films represented the most important creative artists or artistic works during the centuryold history of the cinema. The group comprising international film directors or working professionals in the business ranked Fellini first in importance in the history of the cinema, setting him even before Orson Welles by a slim margin of votes.2 These directors, including such luminaries as Francis Ford Coppola and Martin Scorsese, also indicated they considered 87% one of the ten most important films made during the past hundred years. The blockbuster impact of a single Fellini film in 1959 — La dolce vita — gave birth to new expressions or vocabulary. In Europe, the aesthetic impact of La dolce vita may be accurately compared to the impact of Gone with the Wind or The Godfather upon American culture. The title itself became identified abroad with the bittersweet life of high society, while in Italy, dolce vita came to mean turtleneck sweater, since this kind of garment was popularized by the film. The name of one of the film’s protagonists (Paparazzo) gave birth to the English word “paparazzi,” which came to mean unscrupulous photographers who snap candid but embarrassing shots of celebrities for the tabloids. Finally, the adjective “Fellinian” became synonymous with any kind of extravagant, fanciful, even baroque image in the cinema and in art in general. More than just a film director, Federico Fellini had become synonymous in the popular imagination in Italy and abroad with the figure of the Promethean creative artist. Like Picasso, Fellini’s role as the embodiment of fantasy and the imagination for a generation of fans and film historians transcended his art: People who had never seen one of his films would nevertheless eventually come to recognize his name all over the world and to identify it with that special talent for creating unforgettable images that is at the heart of filmmaking.

Early Days in Rimini and the Romagna Nothing in Fellini’s early life or background would lead the casual observer to predict the heights to which his fame would reach. His parents, Ida Barbiani (a housewife) and Urbano Fellini (a traveling salesman) were of no great distinction in terms of wealth or birth. Fellini was part of a relatively small family by Italian standards of the period:

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a younger brother Riccardo was born in 1921, followed by his sister Maddalena in 1929. Fellini himself was born on 20 January 1920 in Rimini, a small town on the Adriatic coast of Italy in a location known best as a watering hole for rich foreign tourists who would frequent the Grand Hotel and other beach establishments during the tourist season, then abandon the sleepy city to its provincial rhythms. Like all vacation towns, Rimini enjoyed a lazy, cyclic existence that alternated between frenetic activity during the tourist season and endless boredom

afterward. In an essay entitled “II mio paese,” first published with a beautiful photo album of scenes from his native city and translated into English as “Rimini, My Home Town,” Fellini looked back at his origins and concluded that in his life, Rimini represented not an objective

fact but, rather, “a dimension of my memory, and nothing more... a dimension of my memory (among other things an invented, adulterated, second-hand sort of memory) on which I have speculated so much that it has produced a kind of embarrassment in me.”3 During the entire course of Fellini’s career, the director’s recollections of his childhood and his adolescence would serve him as an almost inexhaustible source of fertile ideas for his films. The sleepy provincial atmosphere of Rimini was re-created by him for I vitelloni (1953) on the opposite side of Italy at Ostia, Rome’s ancient seaport. The dream palace of Rimini’s Grand Hotel that figures prominently in Amarcord as the locus of the frustrated sexual desires of the entire male population of Rimini stands as one of the most unforgettable images in all of Fellini’s works. Even the distant destination of the grand metropolis of Rome toward which all Fellini’s anxious provincials are drawn, a theme that figures prominently in so many of his films and particularly in La dolce vita or Roma (Fellini’s Roma, 1972), must always be read against the background of Rimini.4 Other provincial influences were also subtly at work during Felli-

ni’s early childhood. Fellini regularly was taken to the tiny town of Gambettola in the inland area of Romagna. There Fellini visited his grandmother, encountered the typical kind of eccentric figures that rural life in Italy has always spawned, including a frightening castrator of pigs, numerous gypsies, witches, and various itinerant workers. The mysterious capacity of many of Fellini’s film characters (in particular,

Gelsomina of La strada) to enjoy a special relationship with nature surrounding them was directly inspired by Fellini’s childhood visits to

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his grandmother’s home. Gambettola seems to have been a breeding ground for characters with diminished mental capacities but with special emotional qualities, and in La voce della luna (The Voice of the Moon, 1990), Fellini’s last film, he creates another Gelsomina-like figure (Ivo) who seems to be a half-wit but who enjoys an emotional depth that normal characters cannot fathom or imitate. The famous harem sequence of 84/2 where a young Guido is bathed in wine vats before being sent to bed is only one of the many scenes from Fellini’s cinema that recall his childhood past in Gambettola. However important Rimini, Gambettola, and the Romagna were to Fellini’s nostalgic memories of his childhood, there were other more formative cultural influences taking place there that would begin to shape his early career. As a child, the young Federico was well known for his unusual imagination: He was a precocious sketch artist and spent hours playing with a tiny puppet theater. His favorite reading materials were the comic strips that appeared in an extremely popular magazine for children, Il corriere dei piccoli, which, as early as 1908 in Italy, reproduced the traditional American cartoons drawn by such early American artists as Frederick Burr Opper (1857-1937), Billy De Beck (1890-1942),

Winsor McCay (1869-1934), George McManus (1884-1954), and others. Opper’s Happy Hooligan (called Fortunello in Italy) is the visual forerunner not only of Charlie Chaplin’s Little Tramp but also of Gelsomina in La strada, Fellini’s most famous creation, as well as Cabiria in Le notti di Cabiria. Winsor McCay’s Little Nemo in Slumberland, a wonderfully drawn strip about a little boy who goes to bed and experiences fantastic dreams, was certainly a powerful influence upon Fellini, whose visual style in several films (Satyricon [Fellini Satyricon, 1969] and I clowns [The Clowns, 1970], in particular) would recall McCay’s character Little Nemo. Years later, when Fellini began to analyze his own dreams under the influence of a Jungian psychologist,

he would begin a series of drawings in his dream notebooks that utilize the style of the early American comic strip, and he would even dream of himself as a young boy in the same sailor-suit costume worn by Little Nemo in McCay’s strip.6 Even though the cartoon characters created by Walt Disney (1901-66) in both the comic strips and the films ultimately became far more popular in postwar Italy than were these early artists’ characters in the newspapers for children, Fellini’s own visual style, particularly in his preparatory drawings or his dream

ike

notebooks, always remained wedded to the early comic-strip style, not the Disney variety. In 1937, Fellini published his first drawings in a magazine issued by the Opera Balilla, the Fascist youth organization. These were caricatures of his friends from a camping trip from the summer of 1936. During the 1937 vacation season, Fellini joined forces with a friend named Demos Bonini to set up a sketch and caricature shop called FEBO that sold such humorous sketches to summer tourists, and during the same year, Fellini drew caricatures of famous European or American actors to be displayed by the owner of Rimini’s movie theater, the Fulgor (another mythical site immortalized by Amarcord). Some of these sketches are still extant and may be examined in the catalog of the first retrospective on Fellini held in Rome in 1995, soon after his death.” Fellini would soon send his drawings, accompanied by one-liners, to the Domenica del corriere, where a number of them were published between 1938 and 1939, when he left Rimini for Rome. Before leaving Rimini, Fellini also encountered the caricaturist Giuseppe Zanini, internationally famous as Nino Za, who had made a fortune publishing humorous sketches of the world’s great actors and actresses in Germany. Za’s artistic style, like that of the early American comics, would become another formative influence upon Fellini’s drawings.’ Before moving to the capital, during a six-month period between 1937 and 1938, Fellini went to Florence and presented himself at the editorial office of the weekly humor magazine 420, then managed by Mario Nerbini. There, if we may believe one of Fellini’s possibly apocryphal accounts,? Fellini and another sketch artist named Giove Toppi created a substitute

for the popular cartoon strip Flash Gordon by Alexander Raymond (1909-56), which the Fascist government found insufficiently Italian. Whether or not this story is a true one, years later, in shooting Satyricon, Fellini noted that he attempted in the film to re-create some of the particular colors typical of the comic strips of the time, including those by Raymond. 10

The Move to Rome and Fellini’s Precinematic Career as a Writer In 1939, the young Fellini moved to Rome with his mother and sister. In Rome, he enrolled in the Faculty of Law at the university but never

II

completed a degree. Soon, the friends Fellini met would play a determinative role in the choice of his eventual career as cartoonist, journalist,

gagman, and scriptwriter. Fellini began to work on Marc’Aurelio, a widely distributed and highly influential biweekly humor magazine filled with gags, cartoons, and brief comic sketches. Between 1939 and the end of November 1942 (the date of Fellini’s last contribution to the magazine), Fellini’s work included more than two thousand pages of text — cartoons, gags, comic columns.!! The Marc’Aurelio experience also inspired Fellini’s first book, a small pamphlet probably published

in 1942 (there is no publication date on the title page) under the title Il mio amico Pasqualino [My Friend Pasqualino]. It contains numerous drawings that attest to the influence of the comic-strip style of Opper: Pasqualino bears a clear physical resemblance to Happy Hooligan. Perhaps even more intriguing is the possibility that the content of this book may well reflect Fellini’s early reading of Franz Kafka, a writer practically unknown in Italy at the time.!2 The staff of Marc’Aurelio was filled with writers whose contribution to the Italian cinema would soon become legendary. They would

eventually include Cesare Zavattini (the scriptwriter for Vittorio De Sica’s neorealist classics); Ruggero Maccari (who would introduce Fellini to key figures in the cinema, such as the actor Aldo Fabrizi); Ettore Scola (the future director); and Bernardino Zapponi (who would even-

tually become one of Fellini’s major scriptwriters in the 1960s and 1970s). Some of Fellini’s friends in Rome did not have a connection to Marc’Aurelio, such as the painter Rinaldo Geleng (who became his lifelong friend and who would assist him as set decorator in a number of his films) or Nino Za, who was working in the capital at the time and who did a caricature of a young and very impoverished Fellini that the director kept on his office desk until his death.!3 Still, the brief period of work at Marc’Aurelio would be the determining moment in Fellini’s life, for the writers, gagmen, and scriptwriters whom he met on the editorial board, who were almost all simultaneously writing for the cinema in some capacity, provided the same kind of entry into the world of show business that a young student today might well find in a film school in Los Angeles or New York.

Fellini immediately fell in with a crowd of actors and vaudeville players. As has always been the case in the cinema, connections and

12

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