Fellini for Beginners
in Movies ·
goldenhound32 said:Not me. 🤷
Aside from that, I only managed to watch *Decameron*, and it’s actually quite good—regardless of whether you've actually sat down and read the book or not. It definitely delivers on the dark humor.
As for Fellini... I started watching Dolce Vita, but I couldn't bring myself to finish it. Nights of Cabiria was the same story. Just couldn't get through.
While *Amarcord* is perfectly fine, my personal favorite remains *8½*. It’s a dense, complex piece—certainly not an easy watch—but there is a profound beauty to it that the others just don't quite reach.
I don't particularly care for Fellini, though my assessment remains somewhat unformed given that I haven't sat through much of his filmography.
His lesser-known work, *Proba Orchestra*, remains an intriguing study. Over the course of seventy minutes, we are essentially observers of a rehearsal, watching the chaotic machinery of an orchestra unfold. It serves as a sharp examination of the various tribulations faced by musicians—and, perhaps more pointedly, by those tasked with managing the massive egos inherent in the profession: the conductors. At times, the piece leans into the humorous, yet it maintains a consistently intelligent, cerebral edge throughout.
8½ just didn't click for me. That whole setup about a director hitting a wall where his craft and his passion aren't lining up... it’s too heavy. Almost unwatchable at times. He nails the claustrophobia, the paranoia, and that desperate hunt for inspiration—especially in that opening dream sequence—but it feels like Fellini trapped himself in those vibes so hard that he drags the audience down with him. You aren't just uncomfortable; you're stuck in there, desperately looking for light at the end of a dark tunnel. Maybe that was the point, though. Maybe he wanted us to feel exactly what he was going through (8½ is largely autobiographical) to really drive home his experience. Still, I think Bergman handled this kind of thing better in Wild Strawberry. Okay, that's not strictly autobiographical either, but I see a parallel in how the protagonists "drift" through the narrative. What I liked about Bergman was that gentler, smoother way of storytelling; he’d step out of the structure to let us peek at the character's traumas and nightmares. With Fellini, it’s constant nervous energy and unsettling visions, leaving the viewer without any objective ground to stand on. If that was the goal, he pulled it off masterfully, but personally, it’s just not my speed... whether it's the film's temperament or something else, I can't say. One thing's for sure: 8½ is a respected work for a reason.
By the way, I actually dug La Strada. 🙂
p.s. This thread is supposed to be about Fellini 😁