Il bidone

 

Directed by Federico Fellini and written by Fellini, Ennio Flaiano, and Tullio Pinelli, Il bidone (The Swindlers) is the story of an aging con man whose crimes start to catch up with him as he tries to con poor peasants into giving him money and such. The film is a look into a man dealing with his growing sense of morality, regrets, and a world that is ever-changing. Starring Broderick Crawford, Giulietta Masina, and Richard Basehart. Il bidone is a rapturous and captivating film from Federico Fellini.

The film revolves around a group of conmen who often charm their way or disguise themselves as priests to swindle poor peasants out of their money and treasures they have as one of them is a middle-aged man who copes with the growing immorality of his line of work. It is a film that explore a trio of men who work with a criminal who hires them to swindle money out of the poor while using money to live their lives yet eldest con man in Augusto (Broderick Crawford) is thinking about a life after crime yet still does things to live. The film’s screenplay by Federico Fellini, Ennio Flaiano and Tullio Pinelli is straightforward in its narrative yet much of it is told from Augusto’s perspective while it also follows the lives of his fellow conmen in Robert Giorgio (Franco Fabrizi) who loves doing the con game while Carlo aka Picasso (Richard Basehart) hopes to make it as an artist and bring some money to give himself and his wife Iris (Giulietta Masina) a better life with their daughter.

Yet, the appearance of Augusto’s daughter Patrizia (Lorella De Luca) whom he hadn’t seen in a year as well as bumping into a former con man in Rinaldo (Alberto De Amicis) who has become successful as Augusto is invited to a New Year’s Eve party with Carlo, Iris, and Giorgio where things go wrong due to Giorgio’s actions. Even as Giorgio would continue to put Carlo and Augusto into more schemes that eventually has the two of them ponder about their future as the latter copes with the recent sighting of his daughter whom he tries to reconnect with as he deals with the sins of the past.

Fellini’s direction is largely straightforward in terms of his compositions and setting as much of it is shot in Rome and areas outside of Rome as it play into this world where the poor are being conned into giving their money away to con men. While there are some wide shots in some of the locations that include some of the rural, countryside scenes where the poor are often seen. Fellini does maintain an intimacy in his approach to the way he shoots his characters in a frame whether they’re in a section in the city of Rome or how they interact with characters in a poor location where the poor live. Fellini’s usage of close-ups and medium shots add to the drama including the scenes at the New Year’s Eve party where there is a lot that is happening with Fellini often focusing on Carlo and Iris as well as Augusto trying to make a business deal with Rinaldo. There is also focus on a woman being asked to strip where Rinaldo's wife Marisa (Irene Cefaro) watches with disgust while Fellini also showcases an object that would be the cause of Augusto’s troubles due to Giorgio.

The film’s second half does play into the drama as it relates to Augusto’s own past finally catching up with him as well as the lack of a future for himself with Carlo and Giorgio both going into different directions as the latter becomes more reckless. The film’s climatic third act does involve a job for Augusto working for his handler with a new gang of thieves as it becomes a moment of morality in the people he’s about to con. Notably as it is followed by a man dealing with his conscience in a world that has become much crueler where Fellini definitely play into the desolate location set in a mountain area as it serves as a metaphor for what Augusto is coping with. Overall, Fellini crafts a somber yet riveting film about a con man dealing with his crimes and an ever-changing world of immorality.

Cinematographer Otello Martelli does brilliant work with the film’s black-and-white photography to play into the beauty of the daytime exteriors while using available and some stylish lights for the scenes at night including the New Year’s Eve party. Editors Mario Serandrei and Giuseppe Vari do excellent work with the editing as it is largely straightforward to play into the drama and bits of humor with some rhythmic cuts for the latter. Production/costume designer Dario Cecchi and set decorator Massimilano Capriccioli do amazing work with the look of some of the interior of the farms and the interiors of Rinaldo’s home with Cecchi creating some unique clothing including the fake priests clothing for Carlo and Augusto and the dresses that the women wear. Sound editor Giovanni Rossi does nice work with the sound as it play into the atmosphere of the locations as well as the sound of some of the exteriors in Rome. The film’s music by Nino Rota is incredible for its sumptuous orchestral score with elements of bombastic and somber string pieces that also include brass arrangements to play into the drama and some of the film’s humorous moments.

The film’s wonderful ensemble cast feature some notable small roles from Riccardo Garrone as a con man Augusto works late in the film, Giacomo Gabrielli as Augusto’s handler Il Baron Vargas, Sue Ellen Blake as a young woman that Augusto meets late in the film, Irene Cefaro as Rinaldo’s wife Marisa, Alberto De Amicis as a former criminal associate of Augusto in Rinaldo who has changed his life into something greater, and Lorella De Luca in a fantastic performance as Augusto’s daughter Patrizia whom Augusto hadn’t seen in a few years as he tries to reconnect with her while not wanting her to know about what he really does as she is someone that is about to take a major step with her life prompting Augusto to wanting to help her. Franco Fabrizi is excellent as Roberto Giorgio as a smooth con man who likes to wear nice clothes and drive the finest cars as he is an immoral figure that doesn’t care who he steals from as long as he gets something where he would become a source of trouble for both Augusto and Carlo.

Giulietta Masina is amazing in her small role as Carlo’s wife Iris as a woman who is oblivious to what her husband does as she becomes uncomfortable attending Rinaldo’s New Year’s Eve party where she finds herself alienated by the people at the party as well as having some revelations about what her husband does. Richard Basehart is brilliant as Carlo aka Picasso as an aspiring artist who is hoping to use the money to give his wife and daughter a better life while also hoping to kick start his career as an artist only to cope with failures and uncertainty. Finally, there’s Broderick Crawford in a tremendous performance as Augusto Rocco as a veteran con man who often plays a head priest in his scams as he deals with the recent appearance of his daughter and a growing sense of immorality around him as he deals with not just his sins catching up with him but also a growing conscience as he copes with the people he’s scamming.

Il bidone is a phenomenal film from Federico Fellini that features an incredible leading performance from Broderick Crawford. Along with its ensemble cast, study of immorality and society, dazzling visuals, and a rich music score from Nino Rota. The film is definitely a fascinating yet somber film that explore the life of con men as well as this growing sense of change socially and morally that is happening in post-war Italy. In the end, Il bidone is a sensational film from Federico Fellini.

Federico Fellini Films: (Variety Lights) – The White Sheik - (L’amore in Citta-Un’agenzia martimoniale) – I, Vitelloni - La Strada - Nights of Cabiria - La Dolce Vita - (Boccaccio ’70-Le tentazoni del Dottor Antonio) – 8 1/2 - Juliet of the Spirits - Spirits of the Dead-Toby Dammit - (Fellini: A Director’s Notebook) – Fellini Satyricon - (I Clowns) – Roma - Amarcord - Casanova (1976 film) - Orchestra Rehearsal – City of Women – And the Ship Sails On - Ginger and Fred - (Intervista) – (The Voice of the Moon)

© thevoid99 2021

Being There

Originally Written and Posted at Epinions.com on 6/8/05 w/ Additional Edits & Revisions.

Based on the novel by Jerzy Kosinski, Being There is the story about a simpleton gardener with no background and no past as he encounters the wife of a political figure as his colleagues mistake him for someone who could be a political adviser. Directed by Hal Ashby and screenplay by Kosinski and Robert C. Jones, the film is a continuation of Ashby's themes of naive men who step into a world they don't know about only to be confused as the focus is on a middle-aged gardener named Chance played by Peter Sellers. Also starring Shirley MacLaine, Jack Warden, Melvyn Douglas, Richard Dysart, and Richard Basehart. Being There is a witty yet captivating film from Hal Ashby.

For all of his life, Chance is just a simple-minded gardener whose only knowledge of the outside world was through radio and later television as he works for a rich benefactor while always being in the care of a maid named Louise (Ruth Attaway). When the benefactor dies and Louise leaves, Chance is suddenly forced out of his home by two real estate agents in Sally Hayes (Fran Brill) and Thomas Franklin (David Clennon) where he takes a step into the outside world for the very first time with a suitcase, an umbrella, and a remote control. While walking around Washington D.C. where he stops at a TV shop, he is accidentally hit by a car owned by the wife of a millionaire in Eve Rand (Shirley MacLaine). She takes Chance to her home where she misinterprets his name as Chauncey Gardiner where she takes him to Dr. Robert Allenby (Richard Dysart) to look over Chance as he's is the caretaker for the ailing millionaire Benjamin Rand (Melvyn Douglas).

With Chance at the home of the Rands to recover from his injury, he meets Benjamin where the two have a conversation where Ben mistakes Chance's simple ideas about gardening as political rhetoric that intrigues the millionaire who also has political connections. Chance becomes an inspiration for Ben while Eve is also in awe of Chance though he does nothing but watch TV as Ben later introduces Chance to President (Jack Warden) who is impressed by Chance's words as the President also mistakes it for political rhetoric. With Chance becoming a political messiah of sorts as he becomes a celebrity of sorts though only a few know who he really is. With Ben nearing death, Eve accompanies Chance to a party where a Soviet ambassador (Richard Basehart) believes that Chance's statements are influenced by Russian literature. With Eve falling for Chance as political figures try to make their move as the President's approval rating is in decline. Dr. Allenby makes a discovery of who Chance really is as no one is aware about everything Chance had been saying all along.

While the film has a softness that a more hardline audience will find to be overly sentimental, Ashby delivers a solid direction in finding the humor and idiocy of politics and the media itself. Ashby is a master of satire but here, he chooses a simple protagonist whose lighthearted innocence and mild-mannered intelligence who looks into the world of our eyes. Yet, it's the kind of protagonist that most films would expect since he is a childlike man who doesn't know very much. In many ways, Ashby is Chance because he likes to watch. It's probably the most personal film of Ashby's career, especially since it's about a decade that he has watched all of these years fall into decline. It's really a film about a man watching a time, idealism, and a nation going into decline with the world itself not getting any better with no power or mind to do anything.

The strength of the film also goes to its script by its novelist Jerry Kosinski who brings in a mix of humor and melancholia. The film also attacks the cynicism of the 1970s after the fallout of Vietnam and Watergate with a hope for optimism. Yet the film's surreal and memorable ending shows a lot of things including the end of an American innocence to be replaced by something worse as a major character dies with the film's final line of "Life is a state of mind". In many ways, this story is years ahead of its time. Especially since the state of the nation that we live in is led by not just a soulless idiot but one who doesn’t have the honesty or heart that Chance the Gardner possesses. The script isn't just satire but an attack of everything that the 70s represented in the course of its behavior and political rhetoric which made the 80s to be a decade of mindless decadence. There, Ashby and Kosinski capture the future just before it was about to happen.

Helping Ashby in bringing is quirky yet melancholic vision is cinematographer Caleb Deschanel who brings a richness and elegance to many of the film's interior scenes that captures the world of upper-class society and its alien-like tone to the eyes of Chance. Production designer Michael Haller and art director James Schoppe help capture the film’s dark-colored look of wooden furniture and look that shows the upper class world with the wood being the only thing that Chance seems to know. Even the elegant costumes by May Routh shows that richness, notably on how well-dressed that Chance is since he's the only who seems to be comfortable in those close. The film's music score by Johnny Mandel has a sad, melancholia since it conveys the innocence of Chance but also the doom he is about to face when he is about to become something he's unaware of.

The casting in the film is awe inspiring with some nice performances from Fran Brill and David Clennon as the baffled estates people who are dumbfounded by a simpleton with Richard Basehart bringing in a slightly, humorous performance as the Russian premier. Ruth Attaway stands out as the maid Louise with her maternal presence for Chance and as she sees him, she displays the cynicism of how the media and culture acts towards Chance as a messiah. Richard Dysart is excellent in the role of Ben Rand’s ever-suspecting doctor who wants to know the truth but doesn’t want to harm anyone in a masterfully executed performance. Jack Warden brings humor to his role as the President in a performance that is expertly handled as a man of power with a lot of flaws that is handled realistically. Melvyn Douglas gives a fascinating performance as a dying man who finds hope in Chance while realizing about his own fate and regrets.

Shirley MacLaine gives an understated and elegant performance as a woman who is about to become a widow while finding new hope in a man like Chance. MacLaine brings a sweetness to her performance while channeling one of her most hilarious moments in one of the film's funniest scenes. Then there's Peter Sellers in what is probably one of the best performances ever assembled on the screen. Sellers brings a restrained, subtle performance as a simpleton who isn't very smart but isn't a bad man either. He brings a childlike innocence and a well-mannered tone to a man who doesn't have much to offer or say anything profound but his kindness is so enchanting, you can't help but fall for a man like Chance. Sellers could've gone for slapstick for this role but instead, he shows a soul that is filled with sadness and heartbreak in each frame. Even in the film's final moments as he becomes unaware of what is laying ahead for him. It's one of the most spellbinding performances of the decade.

Being There is a sensational and extraordinary film from Hal Ashby that features a mesmerizing performance from Peter Sellers. Along with great supporting work from Shirley MacLaine, Melvyn Douglas, Richard Dysart, and Jack Warden. It's definitely a very witty yet touching film that is both satirical but also heartwarming in its subject matter and characters. In the end, Being There is a wonderful and entertaining film from Hal Ashby.

Hal Ashby Films: The Landlord - Harold and Maude - The Last Detail - Shampoo - Bound for Glory - Coming Home - Second-Hand Hearts - (Lookin’ to Get Out) - (Let’s Spend the Night Together) - (Solo Trans) - (The Slugger’s Wife) - 8 Million Ways to Die

© thevoid99 2012

Fixed Bayonets!

Based on the novel by John Brophy, Fixed Bayonets! is the story of a 48-man platoon trying to defend a choke point leading to all sorts of trouble as a corporal tries to deal with the fact that he might lead the platoon. Written for the screen and directed by Samuel Fuller, the film is about a group of soldiers trying to survive in the cold mountains as they fight against the North Koreans. Starring Gene Evans, Richard Basehart, Michael O’Shea, Richard Hylton, Skip Homeier, and, in his film debut, James Dean. Fixed Bayonets! is a riveting yet chilling film from Samuel Fuller.

A platoon led by a colonel trying to defend a choke point so that a group of troops can withdraw from an overexposed bridge. Leading the pack is a lieutenant (Glen Corbett) as he has soldiers positioned over parts of the mountain to fight off against the North Koreans while Corporal Denno (Richard Basehart) is worried about losing his superiors as he is afraid to shoot and lead the platoon. When trouble arises, Denno has to rely on the experience of Sgt. Rock (Gene Evans) who knows a lot about combat and is aware of what the North Koreans can do. With the platoon hiding in a cave inside the mountains and their numbers dwindling, it’s up to Denno to lead a final assault on a tank and whatever North Koreans are left.

The film is essentially a survival story that revolves around a platoon during a cold region in the Korean mountains as they fight off against the North Koreans. Yet, trouble ensues when soldiers are getting killed as some try to survive and save others while some deal with other things like nature and fear. Leading all of this is a corporal who is groomed to be an officer but lacks any real experience fighting on the ground as he has a hard time about killing a man as he turns to a no-nonsense sergeant who has experienced war. Once the battle commences, it’s not just trying to kill as many soldiers but also outsmarting them with tricks and psychology. Though these tactics would work, it would only buy them little time as these men know that they have to do whatever to survive.

Samuel Fuller’s screenplay is very engaging for the way he captures the sense of fear in battle but also the sense of urgency that men have to do when they’re fighting for their life. Fuller also create scenes where the men take a break from fighting as they’re in a cave trying to figure out how to survive as they look towards Sgt. Rock for guidance as he’s the one man that seems to know a lot about war. Among them is Cpl. Denno who has a hard time dealing with the responsibility he has to carry in case something goes wrong where he would eventually realizes that he has to step up and lead whatever is left of his platoon.

Fuller’s direction is definitely mesmerizing for the way he creates the tense atmosphere of war where it is about strategy and the ability to outwit the enemy. Still, there is that element of danger where the enemy could be themselves in a very chilling scene involving a soldier trying to save another by walking on landmines. Fuller also creates some very broad scenes to establish the locations these characters are in where the mountains definitely add to the danger these men are in as some are in the caves because a few are injured or are waiting for the enemy to come. Eventually, it comes down to the climatic battle where a lot is on the line and the men have to do whatever it takes to survive. Through some eerie close-ups and wide shots, Fuller maintains that sense of terror in what these men have to go through. Overall, Fuller creates a truly engrossing and thrilling film about survival in the heat of battle.

Cinematographer Lucien Ballard does excellent work with the black-and-white photography to capture the scale of the locations as well as the intimacy inside the caves where the men are hiding along with wonderful lighting schemes for the exterior scenes at night. Editor Nick DeMaggio does brilliant work with the editing by creating swift, rhythmic cuts for some of the film‘s fighting scenes along with more methodical cuts in the suspenseful moments. Art directors Lyle Wheeler and George Patrick, along with set decorators Thomas Little and Fred J. Rode, do amazing work with the look of the cave as well as the mountains where the bulk of the film takes place.

Wardrobe supervisor Charles LeMaire does nice work with the look of the uniforms and helmets as well as the clothes the North Koreans wear. The sound work of Eugene Grossman and Harry M. Leonard is terrific for the atmosphere that occurs in the film along with the great scene involving the North Korean blaring trumpets to get the men out of the caves and attack as part of psychological warfare. The film’s music by Roy Webb is superb for its orchestral score that underplays the suspense and action without going into elements of bombast or swelling themes to make things grander.

The film’s wonderful ensemble cast features some notable small roles from Skip Homeier as naïve but helpful Whitey, Henry Kulky as the gruff artillery man Vogl, James Dean in a small role as Doggie, Richard Hylton as scared medic John Wheeler, Michael O’Shea as the determined Sgt. Lonergan, and Glen Corbett as the brave Lieutenant. Gene Evans is great as the experienced Sgt. Rock who tries to make sure everyone is in check while aware of what the enemy is capable of doing. Finally, there’s Richard Basehart in a remarkable performance as Corporal Denno who deals with his own uncertainty in his role as a superior as he’s forced to make decisions that could help or harm his platoon.

Fixed Bayonets! is an excellent film from Samuel Fuller that features terrific performances from Richard Basehart and Gene Evans. It’s definitely a war film that captures the sense of fear and uncertainty in battle as well as the psychology of war. It’s also a film that reveals soldiers as real men who are determined to survive and do whatever it takes to help one another no matter how scared they are. In the end, Fixed Bayonets! is a gripping yet compelling film from Samuel Fuller.

Samuel Fuller Films: I Shot Jesse James - The Baron of Arizona - The Steel Helmet - Park Row - Pickup on South Street - (Hell and High Water) - House of Bamboo - (China Gate) - Run of the Arrow - Forty Guns - Verboten! - The Crimson Kimono - Underworld U.S.A. - Merrill’s Marauders - Shock Corridor - The Naked Kiss - (Shark!) - (Dead Pigeon on Beethoven Street) - The Big Red One - White Dog - (Thieves After Dark) - (Street of No Return) - (The Madonna and the Dragon)

© thevoid99 2012

La Strada

Originally Written and Posted at Epinions.com on 8/4/07 w/ Additional Edits.

Directed by Federico Fellini with a script he co-wrote with Ennio Flaiano and Tullio Pinelli, La Strada (The Road) centers around a marriage that isn't going well while the wife falls for a clown who reveals there's more to life. Exploring the dynamics of marriage and heartbreak, the film shows Fellini’s sense of realism while exploring the behaviors of its protagonists. Starring Anthony Quinn, Guiletta Masina, Richard Basehart, Aldo Silvani, Marcella Rovere, and Livia Venturini. La Strada is a heartbreaking, charming, delightful film from Fellini.

After the death of her daughter Rosa, a poor widow (Marcella Rovere) decides to sell her clownish, shy adult daughter Gelsomina (Guiletta Masina) to a brutish circus performer named Zampano (Anthony Quinn). The new couple go on a road trip in a wagon pulled by Zampano's motorcycle where he’s a performer who wears a steel chain on his chest where the trick was to break it with his strength. Gelsomina reluctantly becomes his assistant while performing clown tricks for him. Though she likes the job, she feels unappreciated by Zampano who often abuses her physically and emotionally. After a performance, Zampano runs off with a red-headed woman leaving Gelsomina behind to wait as she later finds him passed out.

Walking out to a town where she encounters a Catholic ceremony, she catches the eye of a high-wire performer who is also a clown of sorts known as The Fool (Richard Basehart). After the performance and everything, she is left alone in the town until being caught by Zampano. The trip continues where they finally meet a circus organizer named Mr. Giraffe (Aldo Silvani) who takes them on. Unfortunately, the Fool is part of the circus family who constantly teases and humiliates Zampano. After a scuffle that led to Zampano's arrest and the expulsion of him and the Fool. Gelsomina isn't sure where to go and what to do where the Fool tells her his perspective on life on what she should do.

Waiting for Zampano to return, they continue on their road trip where they pick up a nun (Livia Venturini) to stay a convent. Gelsomina's talents are praised by the nun but Zampano doesn't feel impress nor excited. The abuse continues as Gelsomina is again, offered to leave Zampano by the nuns. On the road again, they have an encounter that would turn tragic as the fragile relationship between Zampano and Gelsomina reaches a breaking point.

The film is about character and how they grow through this experience in a road trip. While the film echoes some of the neorealism films in post-WWII Italy, Fellini brings a more comical touch to his work. Even through his knowledge of the world of circus performers. Through the various locations in Italy, the film does act like a road movie but it's more than that. It's really about a woman who is succumb to act like a servant only to find a new role in the life of this brutish, abusive man who doesn't know much about love or compassion. The character of Zampano is seen as this abusive, macho, unintelligent man. Yet, he's someone who has to break chains for a living while never given a life to think about things or other people. When he and Gelsomina encounter tragedy, a change of his character occurs yet he doesn't know how to deal with this.

Gelsomina is another character who goes through her own development as this shy, clownish woman who is trying to find her own usefulness. Yet, despite the abuse she endures and the time she walks out, she has this strange loyalty to Zampano. Even as people tell her to leave, she doesn’t because she hopes to find something good beneath his macho exterior. Yet, when she like Zampano encounters tragedy. She's unsure how to cope with everything and how to react to what Zampano is feeling. It is a film about character development. Even through Fellini's surreal, circus-like direction, it has images and compositions that remain unforgettable right to the final frame. Fellini can capture a moment of humor and extravagance while also showing heartbreak through the close-ups and zoom lenses through his camera. Overall, it's one of his best films and some of his finest set-ups in his direction.

Cinematographers Otello Martelli and Carlo Carlini bring a wonderfully, fascinating look in their black-and-white photography. The rich locations captured through the camera is just filled with beauty while some of the night exterior scenes are wonderfully lit to convey the emotions and moments of the main characters. Editor Leo Cattozzo brings a stylistic yet elliptical approach to the film's pacing to convey the movement and feel of the road while using fade-outs and dissolve to shift scenes of where the characters are. Production designer Mario Ravasco and art directors Enrico Cervelli and Brunello Rondi create a wonderful look to the film's circus settings as well as the motorcycle-wagon that Zampano rides on. Costume designer Margherita Marinari does wonder with the costumes from the poor, drab look that Zampano has including the costumes that are poor to a suit he wears that almost makes him look like a movie star. Sound recordist R. Boggio and sound mixer Aldo Capini create a wonderful atmosphere to capture the location and scenes the characters are in.

Then there's the amazing, lyrical score of the late Nino Rota. The score is melancholic and dreamy while a trumpet that Gelsomina plays is wonderfully memorable with its melody and performance. Rota, who is one of Fellini's key collaborators, is a wonder in this film as the music that often ranges from circus-like comedy to elegant tragedy that plays to the film’s emotions. It's one of the film's great highlights.

While the film has a small cast, it's filled with some memorable performances such as Aldo Silvani and Livia Venturini as two people who reach out to Gelsomina in the abuse she's suffering. Marcella Rovere is also good as Gelsomina's widowed mother who is begging Zampano to take Gelsomina as his new bride. Richard Basehart gives a charming yet comical performance as the Fool, a sympathetic figure who tries to help out Gelsomina.

The film’s best performance is easily Guiletta Masina, the real-life wife of Fellini, who brings a very touching yet intoxicating performance as an abused woman. Masina's physical performance is just as impressive with the faces she makes that is sad yet clownish while bringing a lot of spirit to the film. Anthony Quinn is also great as the brutish, abusive Zampano with his physical presence and the restraint he gives in letting out his emotions. When his character faces tragedy, Quinn shows the complexity of Zampano in how he's trying to react to things where Quinn proves that he’s more than just a character actor. Someone who is trying to feel remorse and what happens in the end is just Quinn at his finest.

While the film doesn't have some of the ambitions of works like La Dolce Vita or 8 1/2, La Strada is still a heartbreaking yet charming film by Federico Fellini. Fans will no doubt consider this one of his essential films while newcomers will use this as a nice place to start. In the end, La Strada is a must-see film from the late, great Federico Fellini.

Federico Fellini Films: (Variety Lights) - The White Sheik - I, Vitelloni - (L'amore in Citta-Un'agenzia martimoniale) - Il bidone - Nights of Cabiria - La Dolce Vita - (Boccaccio '70-Le tentazioni del Dottor Antonio) - 8 1/2 - Juliet of the Spirits - Histoires Extraordinaire-Toby Dammit - (Fellini: A Director's Notebook) - Fellini Satyricon - (I Clowns) - Roma - Amarcord - Casanova - Orchestra Rehearsal - City of Women - And the Ship Sails On - Ginger and Fred - (Intervista) - (The Vocie of the Moon)

© thevoid99 2012