Federico Fellini

At 73 years old, Federico Fellini has this physical status:

Federico Fellini (Italian: [fede rini]; 20 January 1920 – 31 October 1993) was an Italian film producer and screenwriter known for his distinctive style, which mixes fantasy and baroque photographs with earthiness. He is regarded as one of the most influential and influential filmmakers of all time. In recent surveys, such as those of Cahiers du Cinéma and Sight & Sound, which lists his 1963 film 8+12 as the 10th-best film in the country, his films have ranked highly.

La Strada (1954), Nights of Cabiria (1957), La Dolce Vita (1960), Juliet of the Spirits (1968), Fellini's Casanova (1976), and Fellini's Casanova (1976).

Fellini was nominated for 16 Academy Awards over the course of his career, winning four in the category of Best Foreign Language Film (the most for any director in the award's history). At the 65th Academy Awards in Los Angeles, he received an honorary award for Lifetime Achievement. Also in 1960, Fellini claimed the Palme d'Or for La Dolce Vita, two times the Moscow International Film Festival in 1963 and 1987, and the Career Golden Lion at the 42nd Venice International Film Festival in 1985. Fellini was ranked second in the directors' poll and seventh in the critics' poll.

Early life and education

Fellini was born in Rimini on January 20th, 1920, to middle-class parents, and afterwards a small town on the Adriatic Sea. Federico Domenico Marcello Fellini was baptized at the San Nicol church on January 25. Urbano Fellini (1894-1956), a father of Romagnol peasants and small landholders from Gambettola, immigrated to Rome in 1915 as a baker apprentice to the Pantanella pasta factory in Rome. Ida Barbiani (1896–1984) was his mother, the first daughter of a wealthy Roman merchant family. Despite her family's vehement disapproval, she had eloped with Urbano in 1917 to live at his parents' house in Gambettola. A year later, a civil marriage was held in 1918 in Santa Maria Maggiore, Rome.

The two couples settled in Rimini, where Urbano first became a traveling salesman and wholesaler. Fellini had two sisters, Riccardo (1921–1991), a documentary film for RAI Television, and Maria Maddalena (1929–2002).

Fellini began primary school in 1924 in an institute run by San Vincenzo's nuns, who later attended the Carlo Tonni public school two years later. He spent his leisure time drawing, staging puppet shows, and reading Il cor corres, the famous children's magazine that reprinted classic American cartoons by Winsor McCay, George McManus, and Frederick Burr Opper. (Happy Hooligan, the top of the lineup, would inspire Gelsomina's 1954 film La Strada, and McCay's Little Nemo will specifically influence his 1980 film City of Women.) In 1926, he discovered Grand Guignol, the circus with Pierino the Clown and the films. Maciste all'Inferno (1926), Guido Brignone's first film, would distinguish him in ways related to Dante and cinema throughout his entire career.

He joined the Ginnasio Cesare in 1929 and became a mentor for young Titta Benzi, later a respected Rimini prosecutor (and the model for young Titta in Amarcord (1973). Fellini and Riccardo, the mandatory male youth group for Mussolini, became members of the Avanguardista, the compulsory Fascist youth group. In 1933, he and his parents visited Rome for the first time in 1933, the year of the earliest voyage of the transatlantic ocean liner SS Rex (which is shown in Amarcord). The sea creature that was discovered on the beach at the end of La Dolce Vita (1960) has its roots in a massive fish marooned on a Rimini beach during a storm in 1934.

Even though Fellini adapted important scenes from his childhood and adolescence in films including I Vitellon (1953), 8+1 (1963), and Amarcord (1973), he insisted that such autobiographical memories were inventions.

Fellini, a Rimini portrait shop, opened Febo, with painter Demos Bonini. In Milan's Domenica del Corree's "Postcards to Our Readers" section, his first amusing article appeared. Fellini, a caricaturist and gag writer, went to Florence in 1938, where he published his first cartoon in the weekly 420. Fellini found school "exasperating" and had 67 absences in a year, according to a biographer. He graduated from high school in 1937 after failing his military culture exam.

He enrolled in law school at the University of Rome in September 1939 to please his parents. "There is no evidence of him ever attending a class," Hollis Alpert, a biographer, claims. Rinaldo Geleng, a painter who was living in a family's pension, made a new lifelong friend. They were unable to join forces to create sketches of restaurant and café patrons, who were unfortunately poor. Fellini eventually became a cub reporter on the dailies Il Piccolo and Il Popolo di Roma, but he resigned after a brief period of being bored by the local court news assignments.

He joined Marc'Aurelio, the highly respected biweekly humor magazine, four months after releasing his first article, but Are You Listening? "The defining moment in Fellini's life," the magazine referred to him as "working with writers, gagmen, and scriptwriters. These experiences culminated in career and cinema. Ettore Scola, Marxist theorist and scriptwriter Cesare Zavattini, as well as Bernardino Zapponi, a future Fellini screenwriter, were among his contributors on the magazine's editorial board. They conducted interviews for CineMagazzino, which also became congenial: when asked to interview Aldo Fabrizi, Italy's most well-known variety performer, he immediately developed such a strong personal relationship with the man that they later developed professionally. Fabrizi, who specialized in comedic monologues, commissioned content from his teenage protégé.

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Career and later life

Sano, a businessman who worked in Rimini, Urbano, brought his wife and family to Rome in 1940 to share an apartment with his son. Fellini and Ruggero Maccari, who were both on Marc'Aurelio's staff, began producing radio sketches and gags for films.

Fellini, who is still not twenty-years old, earned his first screen credit as a comedy writer on Mario Mattoli's Il pirata sono io (The Pirate's Dream). Vitaliano Brancati, a novelist, and scriptwriter Piero Tellini grew quickly to several film collaborations in Cinecittà. Fellini discovered Kafka's The Metamorphosis, Gogol, John Steinbeck, William Faulkner, and William Faulkner along with French films by Marcel Carné, René Clair, and Julien Duvivier, as a result of Mussolini's declaration of war against France and Britain on June 10th, 1940. Il mio amico Pasqualino, a 74-page book that recounted Pasqualino's bizarre tales, was an alter ego from 1941.

Fellini met his future wife Giulietta Masina in a studio office at the Italian public radio broadcaster EIAR in 1942 while attempting to avoid the draft. Masina, who was well-payed as Pallina's radio serial, Cico and Pallina, was also known for her musical-comedy broadcasts, which cheered a war-ravaged audience.

Fellini was sent to Libya, occupied by Fascist Italy, in November 1942, to work on the filmplay of I cavaliere del deserto (Knights of the Desert, 1942), directed by Osvaldo Valenti and Gino Talamo. "Fellini accepted the position because it allowed him to get another extension on his draft order." He was also responsible for emergency re-writing and directing the film's first scenes. He and his colleagues barely survived after Tripoli was under attack by British forces by boarding a German military plane heading to Sicily. "The First Flight," his African adventure, which later appeared in Marc'Aurelio, marked "the emergence of a new Fellini, not only as a screenwriter, writing and sketching at his desk, but also as a filmmaker out in the field."

When an Allied air raid over Bologna destroyed his medical data, the apolitical Fellini was finally released of the draft. Fellini and Giulietta hid in her aunt's apartment until Mussolini's death on July 25, 1943. The couple married on October 30th, 1943, after being dating for nine months. Masina collapsed down the stairs and suffered a miscarriage several months later. On March 22, 1945, she gave birth to a boy, Pierfederico, but the boy died of encephalitis 11 days later, on April 2nd, 1945. The tragedy had enduring emotional and artistic repercussions.

Fellini and Enrico De Seta opened the Funny Face Shop in Rome on June 4th, 1944, where they survived the postwar war depression by drawing caricatures of American soldiers. When Roberto Rossellini, then-independent on Stories of Yesteryear (later Rome, Open City), met Fellini in his store and suggested that he contribute gags and dialogue for the script, he became fascinated with Italian Neorealist fiction. Rossellini also requested that he try to convince Father Giuseppe Morosini, the parish priest executed by the SS on April 4, 1944, aware of Fellini's fame as Aldo Fabrizi's "creative muse."

Fellini and Sergio Amidei were nominated for the screenplay of Rome, Open City in 1947.

Fellini was hired to film the Sicilian scenes in Maiori as both screenwriter and assistant director on Rossellini's Paisà (Paisan). He was introduced to Marcello Mastroianni in February 1948, then a young theatre actor starring Giulietta Masina. Fellini co-wrote Senza pietà (Without Pity) and Il mulino del Po), which forged a close working relationship with Alberto Lattuada. (The Mill on the Po) Fellini contributed to the director's Senza pietà (Without Pity). Fellini appeared on L'Amore (1948), co-writing the screenplay and in one segment titled "The Miracle," performing opposite Anna Magnani. Fellini was required to bleach his black hair blond to play a vagabond rogue mistaken by Magnani for a saint.

Fellini co-produced and co-directed with Alberto Lattuada Variety Lights (Luci del varietà), his first feature film in 1950. Carla Del Poggio, a backstage comedian on tour of the world, appeared on Giulietta Masina and Lattuada's wife. For those concerned, the product's introduction to poor reviews and limited availability was disastrous. Both Fellini and Lattuada were left with debts to pay for more than a decade after the production company went bankrupt, leaving both Fellini and Lattuada with debts to pay for over a decade. Paisà's screenplay was nominated for an Academy Award in February 1950 by Rossellini, Sergio Amidei, and Fellini.

Fellini's first solo-directed film began in September 1951 after arriving in Paris for a script conference with Rossellini on Europa '51. The film stars Alberto Sordi in the title role and is based on Michelangelo Antonioni's 1949 script, which is based on the fotoromanzi, the photographed cartoon strip romances popular in Italy at the time. Carlo Ponti hired Fellini and Tullio Pinelli to write the script, but Antonioni refused to write the script. They re-worked the material into a light-hearted satire about newlywed couple Ivan and Wanda Cavalli (Leopoldo Trieste, Brunella Bovo) who traveled Rome to visit the Pope, with Ennio Flaiano. Ivan's prissy mask of respectability is soon shattered by his wife's obsession with the White Sheik. The film was screened at Cannes, highlighting Nino Rota's music (Orson Welles' Othello), which was then retracted. "The atmosphere of a soccer match" was razzed by critics at the 13th Venice International Film Festival. According to one reviewer, Fellini had "not the slightest aptitude for cinema direction."

I Vitelloni discovered a following among the critics and general in 1953. Fellini's first international distributor was awarded after winning the Silver Lion Award in Venice.

Fellini directed La Strada, based on a script that was developed in 1952 with Pinelli and Flaiano. Fellini experienced the first signs of acute clinical depression during the first three weeks of shooting. Emilio Servadio, a Freudian psychoanalyst, was aided by his wife for a brief period of therapy.

In Il Bidone, Fellini's Broderick Crawford portrayed an elderly swindler. Fellini adapted the script into a con man's slow descent toward a solitary death based partially on accounts told to him by a petty thief during La Strada's production. Fellini's first choice was Humphrey Bogart, but after learning of the actor's lung cancer, the actor's lung cancer survivors selected Crawford, who remembered him on the poster of All the King's Men (1949). Crawford's alcoholism caused the film shoot to be tense. The film, which was savaged by critics at the 16th Venice International Film Festival, failed miserably at the box office and did not receive foreign exposure until 1964.

Fellini researched and created a therapy based on Mario Tobino's book The Free Women of Magliano during the fall. The initiative, which was carried out in a women's mental institution, was shelved when financial backers understood that the subject had no hope.

Fellini learned of his father's death by heart arrest at the age of 60-two while preparing Nights of Cabiria in spring 1956. The film, produced by Dino De Laurentiis and starring Giulietta Masina, was inspired by news of a woman's severed head found in a lake and accounts by Wanda, a shantytown prostitute Fellini met on the set of Il Bidone. Pier Paolo Pasolini was hired to translate Flaiano and Pinelli's dialogue into Roman dialect and conduct research in Rome's vice-afflicted suburbs. At the 30th Academy Awards, the film received the Best Foreign Language Film award, and Masina was named Best Actress Award at Cannes for her performance.

He created Journey with Anita for Sophia Loren and Gregory Peck with Pinelli. The script was based on Fellini's return to Rimini with a mistress who was unable to attend his father's funeral, resulting in an "invention born out of intimate truth." The project was shelved and revived as Lovers and Liars (1981), a comedy starring Mario Monicelli, Goldie Hawn and Giannini, due to Loren's unavailability. Eduardo De Filippo co-wrote Fortunella's script, adapting the lead role to suit Masina's particular sensibility.

The Hollywood on the Tiber phenomenon of 1958, in which American studios profited from Rome's cheap studio labor, provided photojournalists with the opportunity to steal celebrity photographs on the via Veneto. Haish Nana's spontaneous striptease at a nightclub captured Fellini's imagination: he decided to end his current script-in-progress Moraldo in the City with an all-night "orgy" at a seaside villa. Pierluigi Praturlon's pictures of Anita Ekberg fully dressed in the Trevi Fountain inspired Fellini and his scriptwriters.

Changing the name of the filmplay to La Dolce Vita, Fellini soon clashed with his producer over casting: the director retained on the unidentified Mastroianni, while De Laurentiis needed Paul Newman as a hedge on his investment. De Laurentiis sold the rights to publication mogul Angelo Rizzoli, effectively ending the process. In a mammoth décor created at Cinecittà, shooting began on March 16, 1959 with Anita Ekberg scaling the stairs to Saint Peter's cupola. The statue of Christ carried by helicopter from Rome to St. Peter's Square on May 1, 1956, which Fellini had attended. Piero Gherardi's film "Boated mutant fish" ended the film on a deserted beach at Passo Oscuro on August 15th.

All box office records were beaten by La Dolce Vita. Despite scalpers selling tickets for 1000 lire, people waited in line for hours to see an "immoral film" before the censors barred it from being shown. One outraged patron spat with Fellini was fired at a special Milan screening on February 5, 1960, while others yelled insults. Right-wing conservatives and undercoverary Domenico Magr of the Christian Democrats demanded consideration for the film's controversial themes in parliament. The Vatican's official press organ, l'Osservatore Romano, protested censorship, but the Board of Roman Parish Priests and the Genealogical Board of Italian Nobility condemned the film. In one specific case involving favorable reviews written by San Fedele's Jesuits, defending La Dolce Vita had ramifications. The film alongside Antonioni's L'Avventura received the Palme d'Or award from presiding juror Georges Simenon in Cannes competition. The Belgian writer was immediately "hissed at" by the tumultuous festival crowd.

Carl Jung's 1960-1950-1989 visit to Fellini's Italian neorealism period (1950-1989) was a big discovery for the artist. After meeting Jungian psychoanalyst Dr. Ernst Bernhard in early 1960, he read Jung's autobiography, Memories, Dreams, Reflections (1963) and experimented with LSD. Bernhard also suggested that Fellini consult the I Ching and keep a log of his dreams. "His extrasensory perceptions" were now seen as psychophysical manifestations of the unconscious, which Fellini had once described as "his extrasensory perceptions." Bernhard's focus on Jungian depth psychology had the single most influential influence on Fellini's mature style, and marked a turning point in his career from neorealism to filmmaking that was "primarily oneiric." As a result, Jung's seminal theories on the anima and the animus, the role of archetypes, and the collective unconscious had a significant influence on such films as 8+12 (1960), City of Women (1980). Luis Buel, Charlie Chaplin, Sergei Eisenstein, Buster Keaton, Laurel and Hardy, the Marx Brothers, and Roberto Rossellini were among his key influences on his career.

Exploiting La Dolce Vita's popularity, financier Angelo Rizzoli founded Federiz in 1960, an independent film studio, in an attempt to find and produce new talent. Despite the best intentions, the company's overcautious editorial and business skills compelled it to close shortly after Pasolini's venture, Accattone (1961), was cancelled.

For La Dolce Vita, Fellini was considered a "public sinner." Medici's "Temptations of Doctor Antonio," a section of the omnibus Boccaccio '70. It was Federiz' sole project green-lighted on his second colour film. The film, which was based on Peppino De Filippo's interpretation of a young Fellini's work at Marc'Aurelio, ridicules a crusader against vice, who goes insane trying to screen a billboard of Anita Ekberg celebrating the virtues of milk.

"Well, a guy (a writer?)?" Fellini wrote first in a letter sent to his colleague Brunello Rondi in October 1960.

any kind of professional man?

a theatrical producer?)

Due to a not-too-serious disease, he would have to alter the normal rhythm of his life for two weeks. It's a warning bell: something is blocking his flow. He scouted locations around Italy "looking for the film" in the hopes of resolving his mystery. Unclear about the script's name and the protagonist's work. As the film's name, Flaiano suggested La bella confusione (literally The Beautiful Confusion). Fellini eventually settled on 8+12, a self-referential designation referring mainly (but not exclusively) to the number of films he had directed up to that time, under pressure from his managers.

Fellini signed contracts with his producer Rizzoli, fixed dates, had sets constructed, starred Mastroianni, Anouk Aimée, and Sandra Milo in lead roles, and underwent screen tests at the Scalera Studios in Rome in spring 1962. Gianni Di Venanzo, a cinematographer, was recruited as one of the key artists. However, Guido Anselmi, his hero, was still unable to decide what his character did for a living. The crisis came to a head in April when Rizzoli, sitting in his Cinecittà office, began a letter to Rizzoli saying he had "lost his film" and had to abandon the initiative. Fellini, who had been interrupted by the chief machinist's request that he commemorate the 8+12 launch of the launch of the 8+1nd, discarded the letter and continued the set. He was "overwhelmed by shame" when he landed in a no-exile situation. I was a filmmaker who wanted to make a film that he no longer remembers. And, lo and behold, everything fell into place at that very moment. I went straight to the center of the film. I'll narrate everything that had been bothering to me. I would make a film about a director who no longer knows what film he wanted to make." The self-mirroring system makes the whole film inseparable from its reflecting construction.

On May 9, 1962, shootings began. Deena Boyer, the director's American press officer at the time, wanted a rationale after being overwhelmed by the seemingly chaotic, incessant improvisation on the set. Fellini told her that he hoped to convey three levels "on which our minds live: the past, the present, and the conditional — the realm of fantasy." Nino Rota produced several circus marches and fanfares that would later become signature tunes of the maestro's cinema after the shooting concluded on October 14. For best foreign language film and best costume design in black-and-white, the four Oscar nominees were nominated for eight Oscars, 8-12 received awards. Fellini and Walt Disney toured Disneyland the day after in California for the festival.

Fellini first became attracted to psychoanalysis in 1963, when he first met Turin antiquarian Gustavo Rol. Rol, a former banker, introduced him to Spiritism and séances. Fellini took LSD under the care of Emilio Servadio, his psychoanalyst during the 1954 production of La Strada. He admitted in 1992 that he believed he was hiding from what actually happened on Sunday afternoon for years, but that he denied it.

In his first colour feature Juliet of the Spirits (1965), Fellini's hallucinatory skills were fully portrayed, depicting Giulietta Masina as Juliet, a housewife who rightly suspects her husband's deception and succumbs to the voices of spirits summoned during a séance at her house. Juliet is welcomed to a world of uninhibited sensuality by her maternal grandmother, Suzy (Sandra Milo), but Juliet is haunted by childhood memories of her Catholic guilt and a teenage friend who committed suicide. The film, which is both intricate and brimming with psychological imagery, is supposed to be a jaunty score by Nino Rota.

Fellini travelled to Los Angeles in January 1970 to assist Satyricon in the United States. He also met with film producer Paul Mazursky, who wanted to appear alongside Donald Sutherland in his latest film, Alex in Wonderland. Fellini scouted locations in Paris for The Clowns, a docufiction both for film and television, based on his childhood memories of the circus and a "coherent theory of clowning." The clown "was always the caricature of a well-established, ordered, peaceful society," the clown "was always the caricature of a well-established, controlled, peaceful society," as he saw it. But today, all is temporary, chaotic, and grotesque. Who does not know how clowns can still laugh at clowns? "Everyone in the world now plays a clown."

Fellini's debut on Roma in March 1971 began in a seemingly random series of episodes inspired by the director's memories and impressions of Rome. "The "diverse sequences" are "held together only by the fact that they all result from the director's fertile imagination," writes Fellini scholar Peter Bondanella. The film's first scene prepares for Amarcord, though its most surprising scene involves nuns and priests roller skating past shipwrecks of cobwebbed skeletons.

Fellini shot the Oscar-winning Amarcord between January and June 1973 for a period of six months. The film, which was loosely based on the director's 1968 autobiographical essay My Rimini, depicts adolescent Titta and his companions, who were trying to vent their sexual abuses against the Catholic and Fascist backdrop of a small town in Italy during the 1930s. After La Dolce Vita, Franco Cristaldi's seriocomic film became Fellini's second best commercial success. In a way similar to The Clowns and Roma, Circular in form, Amarcord avoids plot and linear storyline. In a 1965 interview with director Lillian Ross, "I am trying to free my work from such constraints" – a beginning, a growth, an ending. It should be more like a poem with meter and cadence."

In 1982, Diogenes Verlag, his publisher, held the first major exhibition of 63 drawings by Fellini, in Paris, Brussels, and the Pierre Matisse Gallery in New York. The sketches for his sketches were influenced by a gifted caricaturist, who got a lot of inspiration from his own dreams, but the films-in-progress both originated from and stimulated drawings for characters, decoration, costumes, and set designs. I disegni di Fellini (Fellini's Designs), he published 350 drawings in pencil, watercolours, and felt pens under the heading.

At the 42nd Venice Film Festival, Fellini was given the Golden Lion for lifetime achievement on September 6, 1985. He was also the first non-American to receive the Film Society of Lincoln Center's annual award for cinematic achievement in the same year.

Fellini accompanied the Peruvian author on a trip to Don Juan: A Yaqui Way of Knowledge, long fascinated by Carlos Castaneda's The Teachings of Don Juan: A Yaqui Way of Knowledge. Fellini conceived Viaggio a Tulun after his first meeting Castaneda in Rome in October 1984. Alberto Grimaldi, a producer who was ready to buy film rights to almost all of Castaneda's films, later paid for pre-production studies involving Fellini and his entourage from Rome to Los Angeles and Mexico's jungles. Fellini's mystico-shamanic adventures were scripted and serialized in Corre, Italy, in May 1986, when Castaneda mysteriously disappeared and the project fell through. Castaneda's work, Viaggio a Tulun, was published in 1989 as a graphic novel with artwork by Milo Manara and as Trip to Tulum in America in 1990. A barely revealed satirical interpretation of Castaneda's work, Viaggio a Tulun, was published in 1989 as a graphic novel with artwork by Milo Manara and as Trip to Tulum in America.

Fellini, a film director of Ibrahim Moussa and RAI Television, cut memories of the first time he visited Cinecittà in 1939 with a present-day video of himself at work on Franz Kafka's Amerika. It received the special 40th Anniversary Prize at Cannes and the 15th Moscow International Film Festival Golden Prize for a reflection on memory and filmmaking. A panel of thirty experts from eighteen European countries named Fellini the world's best director and 8+12 the best European film of all time in Brussels later this year.

The Voice of the Moon, based on Ermanno Cavazzoni's book Il poema dei lunatici (The Lunatics' Poem), was released in early 1989 by Fellini. On the highway Pontina outside Rome, a small town was developed. The film starring Roberto Benigni as Ivo Salvini, a madcap literary figure recently released from a mental hospital, is based on La Strada's Gelsomina, Pinocchio, and Italian poet Giacomo Leopardi. As he shot, Fellini improved, using a rough version of Pinelli's written for a guide. Despite its modest critical and commercial success in Italy and its warm reception by French scholars, it did not attract North American distributors.

In 1990, Fellini received the Praemium Imperiale, a world award in the visual arts given by the Japan Art Association.

Fellini worked in close collaboration with Canadian filmmaker Damian Pettigrew to produce "the longest and most detailed conversations ever shot on film" between July 1991 and 1992. His biographer Tullio Kezichich's "Maestro's spiritual memoir" and excerpts from the film "I'm a Born Liar (2002) and I'm a Born Liar: A Fellini Lexicon are excerpts from the interviews that became the basis for their feature documentary, Fellini: I'm a Born Liar (2002) and the book "I'm a Born Liar: A Fellini Lexicon." Fellini developed a number of television series whose titles reflect their subjects: Attore, Napoli, L'Inferno, L'opera lirica, and L'America, finding it increasingly difficult to obtain financing for feature films.

"In recognition of his cinematic achievements that have inspired and amazed viewers around the world," Fellini received his fifth Oscar in April 1993 for lifetime achievement. On June 16, he landed in Zürich for an angioplasty of his femoral artery, but two months later, he had a stroke at the Grand Hotel in Rimini. He was first admitted to Ferrara for recovery and then to Policlinico Umberto I in Rome to be near his wife, who was also hospitalized. He had his second stroke and collapsed into an irreversible coma.

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