on one of these summer evenings
that in Rome are almost languid, exhausting
in a small square in the historic center
miraculously free from street vendors and tourists
where you can even felt like a confidential murmur
the chatter of a fountain
and also a sudden Ponentino breeze (typical Roman wind)
I could not help remembering sweet life times
a sweet life of which I have only been able to see the last fires
when subtracting at night
the convertible of the rich friend cousin
unconscious and happy we ran for a sparkling Rome
and I confided these memories
of this baroque but magnificent Rome
with the deserted squares the fountains that sang
and foreign girls strolling stunned by such beauty
I told these little notes to a group of young filmmakers
to my great surprise among five of them
only two had seen La dolce vita
the other three full of elaborate concepts
full of busy film situations
they had not seen this film by Fellini
which is one of the greatest masterpieces of cinema
it is even among the top ten of the films of all time
an artist like Fellini who won 5 Oscars
4 for films and one for career plus 12 nominations
he won the Palm d'Or, he is a monument of
Italian culture, custom and intelligence
ignored by these guys who claim to make films
but which films do they want to make?
one can not disregard La dolce vita
it's a film that marks an era
that separates two ways of making movies
neorealism ends with La dolce vita
another kind of cinema is born
a European international cinema
that no longer looks at the navel of Italy
telling, however, eternal facts as neorealism did
but opens Rome and Italy to the whole world
telling the story of a man who is a man for every season
a man at all times and at all latitudes
each of us is like Marcello Mastroianni in the movie
who oscillates between great intentions
and daily compromises
who would like to escape in a love dream
with Anita Ekberg
and instead returns home to the woman waiting for him
waiting for him loyal maybe even desperate
attempting suicide because he is never there
but then she really loves him
and that after all is the woman he deserves
because of all his great purposes
Rome as it happens in all the big cities
destroys you because it makes you enter a vortex
of events of facts of people
and if you are not absolutely conscious of yourself
if you're not a martyr of yourself
an ascetic who wants to work on his work
the city distracts you, takes you away, loses you
exactly as happened to so many arrived in Rome
to make movies, to make shows or to make literature
dispersed in small daily rivulets
but someone has succeeded, not by chance, for example
Tullio Pinelli who is the writer of Federico Fellini
he is clearly a provincial who came to Rome
provincial way of saying because he comes from Turin
he was even a count and when he met Federico
he is almost 50 years old when he writes La dolce vita
and Federico is 30 years old
and there is this strange association
among a cultured Piedmontese lawyer of a noble family
who has been a cavalry officer
and a gypsy vagabond like Federico
that brings many dreams and many ideas in his head
and these ideas are elaborated by a script master
that is Tullio Pinelli, who preserves, however,
with great sensitivity and great artistic value
all the fantastic and dreamlike potential
and extraordinary films are born like La strada
like La dolce vita like 8 1/2
wonderful films to which also collaborates
another genius of writing that is Ennio Flaiano
and Ennio puts that biting humour from Abruzzo
that disenchanted and slightly pungent way
which serves to give so many moments
of La dolce vita a sweet bitter taste
so it's an epochal film to watch
that I do not want to tell but that is an odyssey
it stands on two floors on this young man
in some respects we even say naive
but that actually pretends to be cynical
Marcello wandering through Rome
attracted by a thousand mirages
cinema, noblemen, money, success
and each of these mirages turns out
to be a very poor thing behind the scenes
as his teacher and mentor Steiner reveals to him
he even represents for Marcello
the maximum of what a man can achieve in life
learned, elegant, prepared, a beautiful wife
an extraordinary home, hip friends an immense culture
he commits suicide because
he does not hold the impact of this world
the small dark evil that was in Federico
his melancholy that led him to depression
is witnessed by this character
but all this does not take away anything
to the extraordinary and bombastic carousel of images
think of via Veneto rebuilt on the set
for the time it was a cyclopean enterprise
just extraordinary with the paparazzi and the stars
Federico had the glance and the strength
to understand exactly what that moment was like
a big carnival that unfortunately then
with the first economic crises it would be over
thank you
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