Fellini discards the twin staples of character development and continuous narrative in favor of a series of set pieces organized around the tension between Rome’s mythic past and uncertain future.
In Fellini’s Roma, the director has totally liberated his obsessions from the discipline of telling a story or developing a character or even maintaining a comprehensible point of view.
La Notte, Last Year at Marienbad, La Dolce Vita
Con questo saggio, Brunello Rondi riprende l’esame analitico delle opere di Fellini iniziato con «Nascita dello stile di Fellini (analisi di Luci del varietà)», pubblicato nel n. 10-11 del 1960 ed integrato dal colloquio con Lattuada sullo stesso film pubblicato nel n. 2-3 del 1961.
This view of the Satyricon is proof positive that the golden resources lavished on Fellini by his trusting producers can be reduced to brightly-colored but unenriching fare.
Gideon Bachmann interview with Federico Fellini on the day ‘City of Women’ premiered in Rome in 1980
Jonathan Cott interviews Federico Fellini for Rolling Stone magazine. The conversation took place in the director’s office in Rome, February 1984
The conversation which follows did not take place all at once. Although I had known Federico Fellini since 1956, we had not actually sat down to discuss his filmmaking ideas and his life philosophy until a few years before his death.
Cannes, 1960. El jurado del Festival, influido por Georges Simenon, otorga la Palma de Oro a La Dolce Vita, de Fellini. Es el comienzo de una amistad por correspondencia que llegará a su momento culminante en 1977, cuando escritor y cineasta por fin se encuentran en persona y mantienen la siguiente entrevista después del estreno de Casanova.
Nel febbraio 1966, il regista già autore de La Strada, La Dolce Vita e 8½, dopo aver finito di girare Giulietta degli Spiriti – e dopo un paio di settimane per far “raffreddare il cervello” – incontra due inviati di Playboy, tra la spiaggia di Fregene e Roma, per parlare di cinema. E della sua visione personale su sesso e amore
Conversation with Italian director Federico Fellini, a few months after he finished filming “Juliet of the Spirits”
The Master speaks on life, art, and Carlos Castaneda
by James Kerans All the Fellini virtues are here: the fluent camera, the wit, the elegant composition, the theme-and-variations style, the melange of theatrical and
Dilys Powell reviews Federico Fellini’s ‘La Dolce Vita’
Pauline Kael reviews Federico Fellini’s ‘8½’
Irving Singer compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 8½
Indro Montanelli, invitato da Federico Fellini ad una proiezione privata del suo nuovo film, La dolce vita, racconta le sue impressioni sulla pellicola
Oriana Fallaci interviews Federico Fellini