I especially like watching the director's childhood stories, and even more like watching the Italian director filming his childhood hometown. Italians are enthusiastic, noisy, and have a strong infectious power. The background of the film is Fellini's hometown of Rimini, which belongs to his childhood.
Just like the English title I remember, the film is made up of memory fragments, and there is no clear origin and transition. Since memory is constructed, of course, there are elements of falsehood and fantasy. And Fellini's forte is to go back and forth between reality and reality, sometimes very realistic, but there is a magical moment in the next second. The teacher at the school at the beginning is very funny, reminds me of Woody Allen's "Annie Hall" and Chu Fu's "Four Hundred Blows", the teacher is always strict, and the rebellious students are constantly trying to fight against them.
What amazes me the most is the handling of politics. Under the fascist regime, Rimini cannot escape ideological censorship and great man worship. But Fellini took it lightly. Even his father was tortured by the fascists with a light weight, but he revealed his true feelings. I have seen many films reviewing totalitarian rule before, but few have presented it from such an angle. I especially like the fascist rally, when everyone shouts long live Italy, but the little fat man imagines him to be the wedding of himself and his dream lover, and suddenly the political activities become dreamy and witty, not to mention the internationale and the fascist soldiers. Just like a satirical comedy.
Between the real and the unreal, there are Catholic petty citizens who have beautiful fantasies about Muslims; uncles who are mentally ill climbed the trees and shouted that I want a woman, and the nuns called down obediently after making a fuss for a long time. The most unforgettable moments are the magical moments in the movie, the foggy morning, the white cow that looks like a god; the peacock slowly spreading its wings on the vast expanse of white snow. I feel that Fellini really seems to have magic and can summon the divinity of the movie.
At the end of "Amacord", it is the funeral of the mother and the wedding of the goddess of the small town. The catkins in spring begin to fly again, floating in this coastal town and on the teenagers in the town. After that, the young man left home on the night train of "Maverick", and the catkins fluttered with time, and finally landed in every frame of his movie.
View more about Amarcord reviews
