Amakod is a poetic and beautiful "space-time continuum". The more you want to see something from it, the more difficult it may be to appreciate that beauty.
Fragmented, rich group portraits, dynamic, generous, tenacious, people.
I prefer the music of "La "Fogaraccia", which is as memorable, joyful and full of life as the people in the film.
The composition of Fellini's pictures is natural and beautiful, and the most memorable are the plump female characters, the hips, and the breasts. Sometimes fantasy and sometimes real plots are interspersed freely in the film, just like an old lawyer who narrates inadvertently, and they appear as one.
There are also weird people with the same symbols - the old accordion man with crooked melons and jujubes, motorcycle geeks, mentally ill uncles (impressive) who go up trees to find women, Bissin, who is addicted to lying and imaginative, and of course, green. The prostitute volpina in clothes, the small town goddess gradisca in red clothes and red hats
group portraits The story is inevitably an unforgettable collective carnival - lively bonfire party and small pranks during the period, children's boring and happy school time, noisy and neurotic but also mutual The caring family, the group masturbation of the four young men in the car, the carnival brought by the fascists entering the city and the absurdity of fighting with the gramophone (I like this part very much, the noisy and dense gunshots and the quiet gramophone overlap and mix, symbolizing destruction The "Internationale" of the Molecules was finally interrupted by two shots, and the people in the street sang new songs and celebrated a victory that didn't seem to make any sense)
In addition, looking for big boats, racing cars, snowball fights and Peacocks; ridiculous confession rituals, foggy fog, a cigarette and a night of carnivals, the death of an aunt and the wedding of the goddess... those things that you can and can't experience, interweave into paintings.
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