Amarcord
New 35mm print
Like La Dolce Vita, Federico Fellini's Amarcord, one of his three or four masterworks, is at once a very personal film and a more detached socio-political scrutinization of Italian society. The film is rich enough to suggest different reading and meanings. On one level, it a bittersweet celebration of Fellini's youth in Rimini, and on another, a cautionary tale about the social conditions which gave rise to Fascism. Fellini intended the film to depict the social, cultural, and political isolation from the rest of the world that Italians experienced under Mussolini. Fellini hoped that Amarcord "might stimulate reflection on the gradual extinction of so many simple and less simple pleasures," which fascism ultimately causes. Amarcord is about, in Fellini's own words, the "psychological, emotional manner of being a fascist." For Fellini, this psychological state entails a sort of "blockage, an arrested development during the phase of adolescence... living with the comforting sensation that there is someone who thinks for you (one time it's mother, then father, then the mayor, another time Il Duce, the Madonna, the bishop) and in the meantime you have this limited, time-wasting freedom which permits you to cultivate only absurd dreams... " Amarcord was a popular and critical success at home in Italy, as well as internationally. It opened the 1974 Cannes Film Festival and won the Oscar for Best Foreign Film. The New Yorker commented that, "After a decade or so of being `out,' Fellini is `in' again." Fellini was born to a farming and trading family in the coastal town of Rimini in 1920. As a young man, he wound up in Rome and tried to become a journalist. Fellini began his film career in the Italian neo-realist movement, which started at the end of World War II. He collaborated with Roberto Rossellini on the screenplays for Open City (1946) and Paisan (1946). Eventually, Fellini was to become the best-known Italian filmmaker outside of the country. — E.Levy,EmanuelLevy.Com
Amarcord
Thu October 15, 2009, 7:00 & 9:30, Muenzinger Auditorium
Italy, 1973, Italian, Color, 123 min, Rated R, Widescreen, 1.85:1, 35mm
Tickets
10 films for $60 with punch card
$9 general admission.
$7 w/UCB student ID,
$7 for senior citizens
$1 discount to anyone with a bike helmet
Free on your birthday! CU Cinema Studies students get in free.
Parking
Pay lot 360 (now only $1/hour!), across from the buffalo statue and next to the
Duane Physics tower, is closest to Muenzinger. Free parking can be found after 5pm at the meters
along Colorado Ave east of Folsom stadium and along University Ave west of Macky.
RTD Bus
Park elsewhere and catch the HOP to campus
International Film Series
(Originally called The University Film Commission)
Established 1941 by James Sandoe.
First Person Cinema
(Originally called The Experimental Cinema Group)
Established 1955 by Carla Selby, Gladney Oakley, Bruce Conner and Stan Brakhage.
C.U. Film Program
(AKA The Rocky Mountain Film Center)
First offered degrees in filmmaking and critical studies in 1989 under the guidance of Virgil
Grillo.
Celebrating Stan
Created by Suranjan Ganguly in 2003.
C.U. Department of Cinema Studies & Moving Image Arts
Established 2017 by Chair Ernesto Acevedo-Muñoz.