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Amarcord (Criterion Collection) (1974)

Cast: Bruno Zanin, Pupella Maggio, Armando Brancia, more...
Director: Federico Fellini
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Rating: Not Rated,
Studio: Criterion
Genre: Foreign, Italy, Coming of Age , Dysfunctional Families, Criterion Collection
Languages: English, Italian
Subtitles: English
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Synopsis
Federico Fellini's warmly nostalgic memory piece examines daily life in the Italian village of Rimini during the reign of Mussolini, and won the 1974 Academy Award as Best Foreign Film. The film's greatest asset is its ability to be sweet without being cloying, due in great part to Danilo Donati's surrealistic art direction and to the frequently bawdy injections of sex and politics by screenwriters Fellini and Tonino Guerra. Fellini clearly has deep affection for the people of this seaside village, warts and all, and communicates it through episodic visual anecdotes which are seen as if through the mists of a favorite dream, playfully scored by Nino Rota and lovingly photographed by Giuseppe Rotunno. ~ Robert Firsching, All Movie Guide

GreenCine Member Ratings

Amarcord (Criterion Collection) (1974)
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7.55 (219 votes)
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Amarcord (Criterion Collection) (Bonus Disc) (1974)
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6.17 (6 votes)
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GreenCine Member Reviews

Loud, lusty, robust. by dwhudson March 27, 2002 - 3:52 AM PST
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14 out of 14 members found this review helpful
I'm a little worried that the blurb above is going to make it sound like there's no "plot" here and scare people away from what's probably my favorite Fellini. You want a good story? There are dozens of good stories here, driven by marvellously eccentric, earthy, sexy, sometimes scary but always very much alivecharacters. Sure, if you're looking at the trees rather than the forest, you'd call it episodic, but it holds together much more tightly than, say, Fellini's Roma. You've got your Aristotelian beginning, middle and end, you've got your unities of time and place.

And what a time, but above all, what a place. This is a movie to get lost in, an Italy so lusty and loud and robust it'd tip over into the stereotypical if it weren't 100 percent Federico Fellini. There's the wonderful scene, for example, when the townspeople go out to watch a cruise ship pass. A blatant studio set, rolling sheets of black material for waves, a cardboard cut-out for the ship that nevertheless looks like an entire city passing through the night.

This is a movie in love with sights like these, with the sound of virbrant voices calling across the town square, in love with pungent, persistent memory itself.


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