#PIER FEDERICO FELLINI MOVIE#
In movie theatres and ubiquitous on TV that it was all too easy to take it for granted and assume that it would never end. I grew up together with the best of Italian cinema, which was so plentiful I was born in 1954, the year La strada was released.
He lashed out at Fellini’s vulgarity, lack of education, complete absence of whatsoeverĬultural project, indifference to anything but his petty problems and total irrelevance in the current predicament of the Jean-Luc Godard, Robert Bresson, or Ingmar Bergman Or one of those intellectuals who took themselves seriously. One of the panellists, however, was positively outraged. One of his most arresting works but one that was, admittedly, inaccessible to the average filmgoer. One night, in a studio at Radio Popolare, we discussed the latest films by Federico Fellini.ĭisappointment about Fellini had been brewing since the release of Fellini’s Casanova ( Il Casanova di Fellini, 1975), Who had taught me the basic techniques of film discussion. Teaching film theory at the University of Houston, I was grateful to the Centro Studi Cinematografici in Milan and the people It was a strange gig, perhaps, but many years later, when I started In the Lombardy region, to events run by the local church or the local public library, at which I would introduce and thenĭiscuss with the audience the movies chosen for the season.
In that capacity, my job was to travel a couple of nights a week, mostly in the winter, to small theatres At the beginning of my college years, I had attended training session for ‘debateĭirectors’. In the early 1980s, I was an occasional guest on an Italian weeklyĬinema review hosted by one of the new radio stations that the loosening of broadcasting rules in mid-1970s had helped create.Īt that time, I was primarily a music critic and I did not write about cinema, except for reviews of films about music, but
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