"The film paints a picture of Rome as it was etched in Fellini's consciousness, as the product of at once threatening and seductive childish fantasies, as well as of experiences
"The film paints a picture of Rome as it had etched itself into Fellini's consciousness, as the product of at once threatening and seductive childish fantasies as well as experiences of later years. As in some of his films before, Fellini narrates in the first person and appears himself as a direct witness, in three different guises: As a boy (Stefano Mayore) in the 1930s at a priestly boarding school in Rimini, from which he knows the Italian capital only as a distorted image of the classicist rhetoric of his teachers and the highfalutin phrasemongering of the Fascist regime; as a young man (Peter Gonzales) who comes to Rome intending to become a journalist; and finally as himself, appearing as inI Clownswith a film troupe in the scenes that show contemporary Rome. On the one hand, one feels the deep love Fellini has for Rome, precisely because this city is his stage. On the other hand, the difference between that splendid and somber imperial Romanism from the imaginings of school days and the Rome of the reality of later years becomes clear. The portrait of the city is staged with an impressive formal effort and fascinates as an extraordinary contemporary document."
Contributors and additional information:
Italy, France 1972
119 min. color. DCP. I/d/e
Director: Federico Fellini
Screenplay: Federico Fellini, Bernardino Zapponi
Cinematography: Giuseppe Rotunno
Editing: Ruggero Mastroianni
Music: Nino Rota
With: Britta Barnes, Peter Gonzales Falcon, Fiona Florence
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.