![]() Stylistically, 8 1/2 represents the same kind of break for Fellini as Persona meant for Bergman, but it also feels like Fellini demanding to be left alone to make the kinds of movies he wants, which I considered to be one of the subtexts from Bergman for Shame. In some ways, this reminds me of Ingmar Bergman’s Persona as well as his Shame in different ways. At least La Dolce Vita spent time contrasting the rich and poor in Rome. ![]() La Dolce Vita moved production from the real world to movie sets and focused on the upper classes, but with 8 1/2, Fellini embraced subjective narrative, constructed sets, and upper class characters at a level that would never have appeared in his earlier films. Nights of Cabiria continued along the same lines. It also represents the complete and definitive break from his neo-realist roots. ![]() However, Federico Fellini was able to move beyond that self-reflective part of the story and tell a story about statis in life, something that can appeal to a broader audience, instead of just his own qualms. On the surface, this movie is pure navel gazing on the part of Federico Fellini, and I think that’s definitely part of the whole package. #6 in my ranking of Federico Fellini’s films.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |