Fellini   His name evokes images of clowns and courtesans, giants and dwarfs, of careless decadence and breathtaking beauty. In his hands, the ordinary becomes magical, yet his films have been called anti-feminist and blasphemous. I'm not a Fellini expert or a film critic, but I try to be a good feminist and appreciate art. I feel Fellini spoke to me; not surprising given his background appealing to the proles in the rural circus. He "loved" women, in the way that could make a good feminist suspicious, but it is also clear he loved people, and Rome, and Love, and his art, among other things. At least it so appears to me from multiple viewings of most of his films. I am comfortable with his visions; I would be comfortable to be the subject of his camera even though his portrayals of men show them at their most ridiculous and pathetic and frail. His work is suffused with a passion for life, lending dignity to pathos and tenderness to absurdity. And sometimes, the other way around.

Fellini directs Amarcord
We see Il Maestro here directing Amarcord, a vaguely autobiographical pastiche of memories and portraits, but his most popular and accessible film, with the possible exception of 8 1/2, a perennial on the art-film circuit. Amarcord is simply a wonderful film, nostalgic, touching and hilarious.

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