Amarcord

If I were to produce a semi-autobiographical account of my life in cinematic format I would do it in a similar fashion as Fellini has done here in his film Amarcord. Similarly to Fellini I would implement the use of various characters as reflections representative of the various stages of my life and the unique dynamics of my own personality. Furthermore, my story as Fellini’s would be told within a context of a political and social critique of the political structure I was raised in. As Fellini critiques Italian Fascism I would criticize American Capitalism. I am most intrigued by Fellini‘s ability to vividly articulate numerous social criticisms while leaving the viewer with an feeling they have just watched a comedy and not so much a highly critical account of both an aged Italian mans life and Italian society and politics.
Through Amarcord I believe we are given a unique opportunity to once again witness the highly personal feelings and reflections of Federico Fellini. This story is woven together with much of the same care as 8 ½ and it carries on some of the same themes of reality versus fantasy. He even uses the introduction of this movie as a transition from the fantasy of 8 ½ to this parallel reality of Italian life in the isolated rural community. Fellini reproduces the same image of all the story’s characters gathering together in a circle of celebrate. In 8 ½ this was a celebration of life whereas this is a celebration of destruction and the end of winter. Aside from this dynamic the definitive Fellini style of intimate storytelling and earnest criticism are present.
Fellini’s use of the various characters to communicate and symbolize the distinct is dazzling. When looking to the main protagonist, his family and friends much of Fellini’s personal characteristics, perspectives, and criticisms of his life and fascism are revealed. I conceived Titta his friends and family as the direct representation of Fellini’s identity. Titta reflects the universally prevailing characteristics of Italian society’s struggle to mature holding on to playful immaturity while reluctantly accepting adult responsibility. This theme is at the heart of Fellini’s criticism of the Failure of Fascism. He illustrates how the systems of the fascist government have failed society. Everything from individual maturation to the school, the church, and the family are failing in the fascist model. We see this in the inability of teachers to cultivate genuine learning but rather simple memorization of trivial facts, the priest’s indifference to Titta while confessing—as he interrupts Titta’s confession to fix flower arrangements—and the immediate pardoning of the following confessor. We also witness the failure of fascism through the volatility and dysfunction of the family environment. Moreover, everyone in the community is completely immature and irresponsible. This is seen from Titta’s friends to the actions of adult men lewd language and conversation of virility.
Nevertheless all of these aspects seem to reveal the feelings and characteristics Fellini him self has once held or continue to hold. Every character is a varying dynamic in Fellini’s development as an individual. Beginning with Titta’s youngest brother, and the unnamed child who attempts to drop a brick on the cradle of the baby—presumably his sibling—these character represent the most childish tendencies that the community of Italian men and Fellini him self are able to—only mildly—grow out of. Titta’s friends represent the boisterousness, timidity, and perverse characteristics Titta himself displays. Titta being the adolescent representation of Fellini is the most dynamically portrayed of all the developmental states. Following Titta is his Uncle, Lallo, who represents in a single character the results of a failed Fascist system. Lallo is completely lazy and immature. He doesn’t work and is only concerned with being taken care of yet, he is such a staunch supporter of Fascism that he results to turning-in his brother-in-law Aurelio, Titta’s father, to fascist leaders as a communist insurgent. Lastly, Titta’s father and insane uncle represent the current state of Fellini’s character. Aurelio is defiant and head strong risking his life and social position for the communist ideas he believes in. This is similar to Fellini’s ambitions to contribute to cinematic history; he is unyielding and will not stop. Titta’s crazed uncle is actually quite perceptive and intelligent as it was stated he was always smarter than Aurelio in school yet, he is locked up in an institute for manic and unstable people. This conveys Fellini’s feelings of how the status quo is repressing his brilliance and his art.
Fellini’s ability to appeal to the comical nature of life is implanted through his dynamic writing in juxtaposing bodily functions against intellectual discourse. This is mechanism is repeatedly throughout the film most notably when the narrator, the town scholar, is interrupted by farting noises and when the teachers discourse on mathematics is interrupted by urine on the classroom floor.
Fellini’s continually finds ways to make strict socio-political statements while keeping the things lighthearted in this comedy we call life.
…Still the joke is on us…