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The latter is a more taboo affair, foreshadowing Fellini’s scandalous films to come, starring Masina as a streetwalker who gives of her heart too freely and pays dearly for her misplaced faith in others. In the first, she stars as a simple peasant girl, sold to a brutish circus performer played by Anthony Quinn in a heartbreaking fable of unconditional love and the men who hate themselves too much to receive it. His 1954 “ La Strada” and 1957’s “ Nights of Cabiria” both feature Fellini’s wife and muse Giulietta Masina getting battered about by the fates and finding grace in misfortune. Heck, you can see most of Martin Scorsese’s career in it.) (You can spot one of the most famous tracking shots from “Goodfellas” early in the film. At once affectionate and clear-eyed about these characters and their shortcomings, this extraordinarily influential picture launched an entire genre of what I guess you could call “guys being dudes” movies, serving as the template for “Mean Streets,” “Saturday Night Fever,” “Diner,” “Trainspotting” and so on. We begin, as any retrospective must, with 1953’s “ I Vitelloni.” His loosely autobiographical third feature chronicles the wasted days and nights of four loutish young men going nowhere in the kind of small, provincial town from which its director had fled.
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The series kicks off this weekend with the quartet of early classics that cemented Fellini’s reputation. A still from Federico Fellini's 1953 “I Vitelloni." (Courtesy Criterion Collection) Fellini was more interested in the Italy of his imagination. His contemporaries in the neorealist movement made it their mission to show the world postwar Italy as it was. He was fond of blaring music while shooting scenes, which is why characters always appear to be slightly swaying to the wistful waltzes or lonely trumpets of Nino Rota’s scores.
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He kept a cartoonist’s sensibility in his appreciation for exaggerated lines and curves, and as the later films grew more explicitly artificial, they came to look more and more like his drawings come to life. A sketch artist from a quaint seaside village on the Adriatic coast, Fellini never lost his childlike wonder at the wide world around him - even if that child was more like a naughty pubescent boy, often driven to distraction by big buttocks and breasts. Even his initial, unpolished efforts have a heightened quality that feels a little larger than life. You can spot a Fellini film from a single frame.
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15 and includes 21 feature films, as well as assorted shorts and television projects, allowing a view in full of a gloriously grandiose filmmaker who, for better and worse, was never less than entirely, indomitably himself. The great director’s centenary passed during the early days of the pandemic, so instead of a series like this one, fans were stuck celebrating with the Criterion Collection’s handsome, if incomplete, “Essential Fellini” box set, the exclusions from which prompted more than a few arguments online about the definition of the word “essential.” Happily, you’ll find no such elisions in the HFA program, which runs from Friday, June 10 through Monday, Aug.
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A still from Federico Fellini's 1960 film "La Dolce Vita." (Courtesy Harvard Film Archive)Īs part of our local repertory theaters’ conspiracy to keep me from spending any time outdoors this summer, over the next three months the Harvard Film Archive will be screening “ The Complete Federico Fellini,” a comprehensive retrospective of the Italian cinema legend’s entire filmography, which contains more masterpieces than I can count on one hand.