I used to hear from a Hong Kong director that comedy is just a small reversal, or a mockery of politics. Here in Fellini, the starting point I see is love, sympathy and praise for people.
Everyone in the movie is so cute, and they have their own fragility and undesirable desires. Except for those innocent children who always make some confusing behaviors.
A woman with a variety of styles, obsessed with fascism, and longing for a home. Little boy, ready to move, but feels inferior in front of sex. The angry father at home was tortured by fascists and left on the streets in the middle of the night... (When his mother helped him walk the night together, everyone cried)
At the beginning, it seemed to be a painting of an Italian town, with all kinds of people, interesting moments. At the moment of the arrival of politics, it seemed to be caught off guard. The Internationale rang in the square, and the soldiers shot-the target was a phonograph. I never thought that they were living under political pressure.
Under political pressure, there is nowhere to put sexual desire. In Mussolini’s big picture, the boy’s fantasy and the dream of the girl’s wedding, the disabled uncle stood on a tree and called me a woman. A tribute to the protagonist cutting branches.
The next heavy fog began to detach from real life one by one divine moments. The confused old man suspected that this was a death scene, the boy and the sheep looked at each other, the heavy snow, people danced. Fog and snow, the image of the sea, and the same period of literary and artistic movies always appear, such as Theo Angelopoulos, such as Truvo.
And in the end, it belongs to daily life, to catkins. The boy went home happily, and the woman married an officer. Life in the small town will continue.
This is comedy. Face the world with the greatest enthusiasm. Fellini sees all this with eager eyes.
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