From the subject point of view, "Amacorde" seems to be incompatible with Fellini's creative style of this period, but it seems to return to the description of ordinary people's life in his early works. But in fact, "Amakode" abandoned the relatively simple perspective of ordinary people, maintained a balance between individual psychology and social history, described the psychological state of the group under the constraints of the situation, and expressed complex themes. In terms of narration, "Amacorde" develops the multi-character and multi-plot narrative structure that Fellini has been exploring to the most complex level. The scene scheduling continues the usual complex and smooth skills and style, making the overall structure of "Amacord" become complicated, while the scene is still full or even swollen.
Since "Sweet Life", Fellini has a new understanding of the structure of the film-"The film has surpassed the stage of prose narration, and tends to become more and more poetry. I try to liberate the work from the fixed structure, Does a story have to have a beginning, development, and end? It should be more like poetry, and rhythm is important."
It is precisely with the pursuit of film rhythm that Fellini completely abandons reason and logic, and then focuses on the subtle poetry between fragments and fragments and constructs a unique situation that belongs to his film. "Amacord" weaves a huge and complex relationship between characters, expressing the repressive nature of small town families, schools, and churches under fascist rule. These contents are all contextual. Fellini's focus on characters is not the complexity of the individual, but the universality of the group. He puts a huge group into the situation, and observes similar reactions of the group under situational pressure only from the level of desire. His characters generally do not realize the repressive nature of the situation, and actively cater to the situation, become a vassal of the situation, and suppress others. Fellini's interest in the situation far exceeds the plot, so the main function of the "Amacord" event is to constitute the situation. The homogeneity of individual situations makes it possible to complement and explain each other logically. Sexual fantasy situations where young people are depressed and mentally unsound, the mental degeneration situations of middle-aged Lalo and Bischein, and the mental illness situations of Daio, Little Fox and others can be seen as a complete process of mental development. Form a mutually explanatory relationship. The detailed individual situation can supplement the missing information of the rough individual situation, such as the brawny Skuresa, wearing a helmet, riding a motorcycle galloping past, arousing people's applause. This brawny man who exudes a strong hormonal breath, if you put him between adolescents and middle-aged people, and use the situation of these two age levels to supplement his growth history and development direction, then this symbolic character He has obtained a relatively three-dimensional situation, and his racing behavior can be seen as a transformative form of exuberant and suppressed sexual impulses.
We tried to spread out the characters in "Amacord", just like the hand-painted poster with a horizontal scroll. A priest suffering from obsessive-compulsive disorder, a sphinx-like female mathematics teacher who is enthusiastic about fascism, a greedy art teacher who is loyal to perspective, a Greek teacher who is a great god of tongue skills, and a grandfather with a heart of love. . . . . . The close-up of each face is a key to unlock the memory, and those fog, wind, and rain, like the distant but clear call in memory, sweep us sitting in the dark into private memories. The film ends for a long time. , The faces of all the characters are still vivid, men, women, young and old, fat, tall and thin. Everything is so specific. They are kind, warm, and sad. However, the magic that presents the secrets of these faces makes me feel different. Kind of breath-holding shock. Because I know that apart from dreams and fiction, the treasures we once possessed can never be reproduced.
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