Although they are all life-flow films with no stories, although they are all the director's own life and dreaming, although they are the foundational works of modernist films, "Amakord" and "Eight and a Half" and "The Dolce Vita" Completely different. Quite simply, as Fellini's 1973 work, "Armakode" is more than ten years later than the other two films, and it has truly reached the realm of returning to the basics. Although "Eight and a Half" and "The Dolce Vita" capture a spirit of modernism that permeated the postwar Western world, a emptiness and a loss of meaning, the lament and emptiness of intellectuals and petty bourgeoisie in them always Gives a sense of isolation - we don't find ourselves in it. But "Armakod" is intimate. The various ordinary people in an Italian town in the 1930s had nothing to do with us originally, but there is something about them that can infect us who have nothing to do with that town decades later. This thing should be life. In the noisy family day and night, in the chaotic classroom run by all kinds of grotesque teachers, between the dangling of the goddess' ass and the shopkeeper's big breasts, in the sound of motorcycles running all over the street, in the madman in the tree In the uncle's cry for a woman, in the flying snow in spring and the snow in winter, simple and warm life is everywhere. In this Evernote without a central character or a central story, Fellini records his childhood in a way that is sloppy on the surface but is actually fiery on the inside, and sings a strong and sincere song for the cultural roots he loves. In the movie, he asked the "storyteller" to say to the fourth wall: "This is our town, and the people in this town have the blood of ancient Romans and Celts in their blood for thousands of years. ” This is Fellini's vivid description between reality and fantasy, reality and fiction - the blood of Italians. This kind of blood is found in the sexual hunger of young people, in the fanaticism of fascists, in the vanity of courtesans and the madness of prostitutes, in the carnival of burning witches and the solemnity of burying relatives. The variety and richness of "Amakod" is like a feast you can't eat all at once - you can only be dumbfounded there. What makes you even more stunned is the ingenious and ingenious imagination of this feast - the white bull in the fog, the gramophone shot by the fascists, the dwarf nun who climbed the tree to persuade the madman, and of course, the fantasy of the fascist parade as a wedding. fat Boy.
These magical strokes make Fellini's love letter to life simple and poetic. This simplicity and poetry, together with the fiery affection behind it, has become a masterpiece in film history. As the audience, you and I are lucky, because there is still Fellini in the world, and there is "Amakord" in the movie.
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