I Vitelloni

The first thing that came to mind when watching this film was how it differed from the previous two we have seen. Rather than including surreal dreamlike elements, this film uses more of a "daydream" element. Through the narrator, we learn the story of the 5 "Vitelloni" and their lives and struggles in a beach town in postwar Italy. The narrator makes us feel as if we are "reliving" the story along with him, rather than the feeling that we are experiencing everything as it is happening.

The fact that the film is semi-autobiographical of Fellini's life adds a lot of character to the film. We get a feel for how Fellini's life was growing up in a small resort town in postwar Italy that was booming in the summer and dead in the winter (I grew up the same way in Germany, actually) with elements that seem to never change. For instance, all five Vitelloni live in the same town aimlessly without goals, presumably living the same lifestyle they were as children. (Fussing over money, chasing after girls, going to the beach, being lazy and carefree) The fact that many of the characters use their real names (including Fellini's brother, the one with the smallest role) adds a nice touch to the autobiographical feel this film gives.

The film starts us off with an introduction of the characters and a party that ends the booming summer period. We witness a lively town turn into a ghost town with the change of a season. As time progresses, we get a good feel for the characters and their lives.

Fausto, the leader of the group, is the classic example of a person not ready to accept responsibility. He prepares to run off on his pregnant girlfriend, when married he has a wandering eye, he's very cocky, shows little remorse, and it takes a lot before he turns his life around. (And who knows if he'll keep up with it.) In my opinion, the fact that Fellini loves his characters so much especially shows with Fausto. Even though Fausto was a cheat, couldn't hold a job, and wasn't very responsible... I couldn't help but love his character. He was charming in the way that he was so confident and careless, and throughout the film I couldn't help but hope that Sandra would stay with him and they would work things out.

Alberto was also an example of a never-changing man. Assuming he was Fausto's age, around 30, he had not accomplished much. He partied, lived a single life with his mother, had no income, but tried to fill a "man of the house" type roll, unsuccessfully. However, we know that Alberto realizes they are all going nowhere, he drunkenly told Moraldo that they were all "nobodies" after Carnival.

Leopoldo was the man trying to live out his artistic dreams, but due to the fact that he lives in a town that doesn't give him much opportunity to pursue and showcase his works, he remains waiting for his "big chance". When the chance arrives, however, Leopoldo is scared and runs off. After seeing this film a second time, I wonder if I'm still missing something. Why did he run off from the man with the interest in his play? Was it the fear of the man's strange behavior? The fear of leaving his city and finally making something of himself? A combination of the two?

Moraldo appears to be the only character that realizes leaving the city would be the most beneficial solution. He was the most responsible of the group, and seemed to not approve of wrongdoing. He told Alberto to stop harassing the woman on the street, (I think that was Moraldo, at least..) he disapproved of the way Fausto treated his sister and refused to search for Sandra alongside him, and he seemed to have a better sense of what was right and wrong. (For example, he was against stealing the angel statute) Surrounded by people with no goals, scandal, and poverty, he decides to try his luck elsewhere.

Reading up on the film, I learned that Fellini actually voiced the line of "Goodbye Guido" as Moraldo takes off on the train, which gives a deeper sense of what Fellini went through leaving his hometown of Rimini for Roma. Moraldo saying goodbye to young friend then takes on a new meaning of Fellini moving on to adulthood and bigger, better things while leaving his youth (represented by the boy) behind. Learning that piece of information made this scene the most touching for me.

While the film didn't feature as much "slapstick" comedy as the last two films, it offered a lot of subtle, charming humor. I liked when the messenger announced that Fausto was back and proudly exclaimed that he now had a mustache... The scene of Fausto and Sandra coming back from Roma with their record player and Fausto teaching the dance moves to his friends... Alberto dressing up in drag for the party... The dance scene after the party had ended that went on for a long time and resulted in Alberto yelling at the trumpet to stop, and talking to the giant head he was carrying around. Even Alberto's breakdown as his sister left and he consoled his mother was made comical due to the fact he was still in drag. Leopoldo's passionate reading of his script, Fausto's complete inability to realize when his advances weren't appreciated...

Overall, I really enjoyed the film. The fact that it was autobiographical made me appreciate it more and gives me a much better sense of where Fellini is coming from. I think the film also showcases many things to come in Fellini's future films, and things that have happened previously... The lavish setups for events(like the Carnival party), the use of clowns, the continued use of subtle humor, the essence of a dream, relationships, regret, redemption, and life lessons.

Leopoldo Trieste

I like how everyone loved Leopoldo's facial expressions as Ivan in "Lo Sciecco Bianco." I thought he looked really familiar, so when I IMDBed (I'll use it as a verb if I want!) him, I realized he was in one of my favorite films, Cinema Paradiso, as the priest. In this film, he played a priest that often edited risque' material out of films for the town theater. He also had very memorable facial expressions as he saw risque' (even just kissing) parts he thought needed editing.

Also, he was Signor Roberto in The Godfather: Part II.

Looking at his list of works makes me want to find/watch some more films including Leopoldo Trieste.

Luci del varieta' e Lo Sceicco bianco

I had seen both films (Luci del varietà and Lo Sceicco bianco) before, but watching the in-class video made me pay more attention to Fellini's style. I suppose in the back of my mind I must have noticed he picked funny-looking characters, but I made an effort to examine faces closely this time. Even if viewed without sound, the characters move so much and express so much with their faces that a plot could easily be followed without any sort of dialogue at all.

During both films, I felt a full range of emotions. Checco and his treatment of Melina made me sad in Luci del varieta'; Liliana's treatment of Checco was frustrating and made me even more depressed about the Melina/Checco situation. However, I was also moved by Checco's love for the theater and drive for putting on a variety show. I also really appreciated the really random comedic moments, for example: the trumpet player with the laugh that went on for a ridiculous amount of time.

Lo Sceicco bianco was much more enjoyable the second time around. From the reading, I kept in mind the Fellini quote related to this movie where he said, "But when dreams become reality, they make no one happy." (Page 29: The Cinema of Federico Fellini) Keeping this in mind for the screening, I appreciated more how Fellini conveyed those thoughts through the film. Also, I liked how he added such weird dream-like/comedic scenes into the movie. The White Sheik swinging up high for no apparent reason, the hilarious jump shot as he hits the floor, Wanda's attempted suicide which ends in her falling about a foot in the most shallow part of the water, etc.

Also, I really, really love Nino Rota, so the score for Fellini's films are always very enjoyable. Did he do the score for Luci del varieta' too? (Anyone know? It's a similar style, at least.)