Two honeymooners arrive in Rome from the provinces. Lo sceicco bianco (1952) marks Fellini’s debut as an independent director and expands his vision of film character beyond the comic Checco.
The film ends with Checco making overtures to another pretty girl on the train while Melina sleeps beside him. When Liliana abandons him for a rich theater producer, his vanity and her mercenary nature are fully exposed. Mankiewicz, 1950), Checco believes his protégéé to be likewise enamored, and betrays his faithful fiancée Melina Amour (Giulietta Masina). In a reversal on All About Eve (Joseph L. The group’s leader, Checco Dalmonte (Peppino DeFelippo), is susceptible to the charms of amateur dancer Liliana (Carla del Poggio). Luci del varietà (1950) (4), follows the vagabond wanderings of a second-rate troupe of variety players on a circuit through provincial Italy. Italian cinema scholar Peter Bondanella identifies the first of Fellini’s innovations in his conception of film character and considers the first three films his “trilogy of character” because they dramatize the clash between a character’s social “role” or “mask” and the more authentic “face” of his instincts and aspirations. As a veteran of the scripting team responsible for two exemplars of Italian neorealism, Roma città aperta and Paisà (both Roberto Rossellini, 1945 and ’46), Fellini was interested in moving toward a “cinema of Reconstruction.” After Paisà, he redefined his artistic credo to “looking at reality with an honest eye – but any kind of reality not just social reality, but also spiritual reality, metaphysical reality, anything man has inside him.” (3) Directors who followed their own imperatives were labeled conservative or reactionary.
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Novelist Italo Calvino diagnosed the influence of mass culture on Fellini’s later sophisticated cinematic language as a “forcing of the photographic image in a direction that carries it from an image of caricature toward that of the visionary.” (2) Fellini trained for a professional life as a visionary with over ten years of scriptwriting and on-the-set apprenticeship.įor the postwar Left, a film’s critical value was based on whether it depicted Italy’s social problems and offered a Marxist remedy. The cartoons, caricature sketches, and radio comedy that were his popular art métier brought him to the cinema as a gagman and scriptwriter. The famed humor bi-weekly served as an unofficial training ground for scriptwriters and directors of the postwar period.įellini’s formative influences can be traced back to the popular Italian culture of the period, and not primarily the cinema. Young Fellini supported himself as a wandering caricaturist until hired by Marc’Aurelio in 1939. When pressed for his influences, Fellini preferred Chaplin, Buster Keaton, Laurel and Hardy, the Marx brothers, Pietro Germi, and Buñuel (with his black humor) to “cine-club” names such as Dreyer, Griffith and Eisenstein. And unlike his contemporaries, he never frequented the cinema clubs that screened the best Italian directors’ films and international titles from France, Germany and Russia. He never considered attending Rome’s Centro Sperimentale di Cinematografia, whose graduates he would later collaborate with. Enrolled in law school, he abandoned the degree. Born in the seaside town of Rimini in Italy in 1920, he quit the provinces for Rome at age 18. Web resources Federico Fellini’s Cinema (1)įederico Fellini, a canonical name of personal expression and artistic fantasy in the cinema, had no formal technical training in his profession.
January 20, 1920, Rimini, Emiglia-Romagna, Italy.
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