![]() There's no doubt, though, that 8 1/2, made 12 years later, is his real masterpiece La Dolce Vita and Fellini's Satyricon his most spectacular epics, while Amarcord is the self-referential film that turns his most faithful supporters weak at the knees.Ĩ 1/2 is probably the most potent movie about film-making, within which fantasy and reality are mixed without obfuscation, and there's a tough argument that belies Fellini's usual felicitous flaccidity. It's a marvellously sympathetic study of a travelling theatre group, which, perhaps because I was once an actor, seemed to me the best film about the theatre I'd ever seen. In fact, my favourite of his films has always been his first - Variety Lights, which he co-directed with Alberto Lattuada way back in 1950. But I have to confess that the longer he worked, the more I doubted Fellini. But there's a kind of critical resistance to his work that once caused him to write to me (I was then deputy film critic for the Guardian) to ask if there was anything I could do about the carping notices that invariably flowed from the pen of Richard Roud, my predecessor. ![]() And he seems to have a particular fascination for purely commercial directors - perhaps because his was the cinema of visually expressed emotions rather than intellectual rigour. At least half of all film-makers asked about the directors they most admire include Federico Fellini in their top three. ![]()
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