|
|
|
|
|
|
© DR- FELLINI / ROMA -1972 p4
16/12/2012 12:48
Le film se présente comme une suite de courts récits et saynètes où Fellini évoque des souvenirs d'enfance et de jeunesse et restitue l'ambiance de la Rome de la première moitié du vingtième siècle.Sont mis en parallèle, entre autres, ces saynètes :l'arrivée du provincial dans la « Rome d'autrefois », d'après les souvenirs de jeunesse de Fellini ; l'arrivée dans la Rome moderne par une autoroute bondée ; les bordels d'autrefois, à l'époque du fascisme ; l'amour libre d'une génération de gentils hippies.
*
Une longue séquence presque documentaire montre les travaux du métro, en cours de percement à l'époque. Les ouvriers découvraient régulièrement des sites archéologiques importants, enterrés, ignorés jusque-là.La fabrication du film est parfois exhibée : Fellini montre sa grue de tournage, on assiste au vol (anecdote réelle ou fictive ?) d'une caméra pendant une fête de rue... Avec les apparitions de célébrités dans leur propre rôle (casting ci-dessous), cela fait de Fellini Roma un film aux prises avec le réel (souvent dans ce qu'elle a de plus terre-à-terre... mais aussi de fascinant).
| |
|
|
|
|
|
|
|
© DR- FELLINI / ROMA -1972 p5
16/12/2012 12:52
Fiche technique
Réalisation : Federico Fellini
Scénario : Federico Fellini et
Bernardino Zapponi d'après leur histoire
Musique originale : Nino Rota
Direction de la photo : Giuseppe Rotunno
Montage : Ruggero Mastroianni
Direction artistique, décors et costumes : Danilo Donati
Pays d'origine : France, Italie
Langues de tournage : anglais, français, italien
Tournage :Intérieurs : Cinecittà-Extérieurs : Rome
Producteur : Turi Vasile
Sociétés de production : Ultra Film (Italie),
Produzioni Europee Associati (Italie),
Les Artistes Associés (France)
Société de distribution : Les Artistes Associés
Format : couleur par Technicolor —
35 mm — 1.85:1 — monophonique
Genre : essai cinématographique
Durée : 128 minutes
Date de sortie : 14 mars 1972
au Festival de Cannes
Cast
Peter Gonzales : Federico Fellini à 18 ans
Federico Fellini : lui-même
Gore Vidal : lui-même
Anna Magnani : elle-même
Alvaro Vitali : le danseur de music-hall
Elliott Murphy : Extra
Marne Maitland : le guide des catacombes
| |
|
|
|
|
|
|
|
© DR- FELLINI / ROMA -1972 p6
16/12/2012 13:00
La critique de Roger Ebert(1)
January 1, 1972
Federico Fellini first included his name in the title of one of his movies with “Fellini Satyricon” (1970), and then for legal reasons: A quickie Italian version of the “Satyricon” was being palmed off in international film markets as the real thing. Once having savored the notion, however, Fellini found it a good one, and so we have “Fellini’s Roma”, which was followed by “Fellini’s Casanova”.The name in the title doesn’t seem conceited or affected, as it might from another director (Peckinpah’s Albuquerque?) This is Fellini’s Rome and nobody else’s, just as all of his films since La Dolce Vita have been autobiographical musings and confessions from the most personal, and the,best director of his time. Any connection with a real city on the map of Italy is libelous. Fellini’s Rome gets its suburbs trimmed when he goes for a haircut.
| |
|
|
|
|
|
|
|
© DR- FELLINI / ROMA -1972 p7
16/12/2012 13:03
Roger Ebert(2)
The movie isn’t a documentary, although sometimes he lets it look like one. It’s a rambling essay, meant to feel like free association. There’s a very slight narrative thread, about a young man named Fellini who leaves the little town of Rimini and comes to the great city and is overwhelmed by its pleasures of body and spirit. He moves into a mad boarding house that would make a movie all by itself; he dines with his neighbors in great outdoor feasts when the summer heat drives everyone into the piazzas; he attends a raucous vaudeville show and he visits his first whorehouse É and then his second.This material, filmed with loving attention to period detail, exists by itself in the movie; there’s no effort to link the naive young Fellini with the confident genius who appears elsewhere in the movie. It’s as if Fellini, the consummate inventor of fantasies, didn’t grow out of his young manhood, he created it from scratch.
| |
|
|
|
|
|
|
|
© DR- FELLINI / ROMA -1972 p8
16/12/2012 13:07
Roger Ebert(3)
The autobiographical material is worked in between pseudo-documentary scenes that contain some of the most brilliant images Fellini has ever devised. The movie opens with a monumental Roman traffic jam that, typically, becomes important because Fellini has deigned to photograph it. He swoops above it on a crane, directing his camera, his movie, and the traffic. A blinding rainstorm turns everything into a hellish apparition, and then there’s a final shot, held just long enough to make its point, of the autos jammed around the Colosseum.The image is both perfect and natural; as someone commented about “Fellini’s 8 1/2”, his movies are filled with images, and they’re all obvious.
*
If Bergman is the great introvert of the movies, forever probing more and more deeply, Fellini is the joyous exponent of surfaces and excess, of letting more hang out than there is.The obviousness of his images gives his movies a curious kind of clarity; he isn’t reaching for things to say, but finding ways to say the same things more memorably. The decadence of Rome has been one of his favorite subjects throughout his career, and who could forget Anita Ekberg in the fountain, or the Mass procession at dawn, in La Dolce Vita?
| |
|
|
|
|
