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Fellini's Roma (Widescreen)
 
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Fellini's Roma (Widescreen)

Avec : Federico Fellini, Anna Maria Pescatori Réalisateur : Federico Fellini MPAA Rating: R
3.9étoiles sur 5  Voir tous les commentaires (15 évaluations de client)
Prix éditeur: CDN$ 15.98
Price: CDN$ 13.99 & se qualifie pour Livraison super-économique GRATUITE pour des commandes de plus de CDN$ 39. Détails
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Fellini's Roma (Widescreen) + Fellini Satyricon (Widescreen) + 8 1/2 (Widescreen)
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What Do Customers Ultimately Buy After Viewing This Item?

Fellini's Roma (Widescreen)
50% buy the item featured on this page:
Fellini's Roma (Widescreen) 3.9étoiles sur 5 (15)
CDN$ 13.99
La Dolce Vita (2-Disc Collector's Edition)
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La Dolce Vita (2-Disc Collector's Edition) 4.3étoiles sur 5 (25)
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8 1/2 (Widescreen)
11% buy
8 1/2 (Widescreen) 4.6étoiles sur 5 (77)
CDN$ 25.49
Amarcord (Criterion Collection)
9% buy
Amarcord (Criterion Collection) 4.4étoiles sur 5 (33)
CDN$ 44.99
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Les détails du produit

Descriptions du produit

From Amazon.com

Federico Fellini's 1972 ode to the city of Rome is far from a coherent narrative, but as a selection of images and sounds celebrating the famed Italian capital, it's dazzling and hugely enjoyable. Stylistically, it's a perfect bridge between the excesses of Satyricon and the nostalgia of Amarcord, and it showcases the true love that Fellini had for the Eternal City. Mixing autobiographical flashbacks with the travails of a present-day movie company making a film about the city (headed up by Fellini himself), Roma is an impressionistic tour de force, delivered via Fellini's unique cinematic vision. If you can't tolerate Fellini's larger-than-life approach, the sometimes-garish colors, or the circus atmosphere, you'll probably find Roma insufferable. But fans of Fellini will be in seventh heaven, especially during some of the wonderful set pieces--a music dance hall performance that's interrupted by bombing during World War II; a papal fashion show that's so surreal it must be seen to be believed; and a breathtaking sequence in which the film crew, tagging along with an archaeological dig, happens upon an ancient Roman catacomb and watches as the beautiful murals disintegrate before their eyes. Through it all, Fellini's passion for Rome (and moviemaking) shines through, especially in the film's climax, a dialogue-free sequence of motorcycles roaring through the city at night, a tour that ends at the magnificent Colosseum. At that marriage of past and present, Roma is about as perfect as cinema can get. --Mark Englehart


Review

Fellini's Roma is precisely the kind of cinematic valentine to the Eternal City that only Federico Fellini could create. Fellini's personal journey through the city of his 1930s youth and the freak show, traffic-clogged 1970s present, Roma fondly lingers over the Felliniesque carnival of characters populating family dinners, theater audiences, brothels, and street parties. Fellini himself appears on film orchestrating the contemporary crew. Accurately summed up on camera by Gore Vidal as "the city of illusions," Fellini turns Rome's Catholic ritualism into an opulent ecclesiastical fashion show, while the subway construction sequence and the final, nocturnal tour of the ruins via motorcycle find surreal beauty in the potentially destructive juxtaposition of ancient and modern Rome. Reportedly disdained by Romans, Roma was nevertheless greeted by critics as a welcome return to the nostalgia and astute commentary of such early masterworks as I Vitelloniand La Dolce Vita. Fellini would merge nostalgia and surrealist fantasy even more fruitfully in Amarcord. Anna Magnani's cameo as herself, urging Fellini to go home and go to sleep, was her final screen appearance. Cameos by Marcello Mastroianni and Alberto Sordi were cut from the English language version. ~ Lucia Bozzola, All Movie Guide
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L'avis des consommateurs

15 évaluations
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3.9étoiles sur 5 (15 évaluations de client)
 
 
 
 
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Commentaires client les plus utiles

 
3.0étoiles sur 5 It's Fellini !, Oct. 7 2009
Perhaps this isn't the best introduction to Fellini's films but it is nevertheless an interesting mid-career extravaganza. I think some of his earlier black and white films such as "8 1/2", were more masterful, but this and his "Satyricon" are fascinating experiments nevertheless.
If you are unfamiliar with his cinema and are willing and eager to watch something completely different and very personal, then go for it! If you like this free form, collage style movie though, you might prefer "Satyricon" which is much more extravagant in its art direction and cinematography.
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3.0étoiles sur 5 Kind of a mess., Aoû 25 2004
Par Antonio Giusto (Toronto, Ontario Canada) - Voir tous mes commentaires
(TOP 500 REVIEWER)    (REAL NAME)   
I found it really hard to love this film as I do his others. Same thing goes for Satyricon. This film just seems like Fellini showing off and going on a visual rant. I had the same vibe watching this film as I did watching "Akira Kurosawa's Dreams."

I really think the magic in Fellini's films dissapeared after 8 1/2. Roma seems like an attempt at simulating that magic.

I will give this film 3 stars for the fashion show segment. Seeing priests on rollerskates made me laugh.

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5.0étoiles sur 5 2757 (Ab Urbe Condita), Juil 19 2004
Would "Caligula" or "Nero" be shocked at what their city, the Eternal City, the City to which all roads once led, has become so many years into the distant future? Or would they (probably more likely) find a way to fit right in somehow? This is one of the "notions" that I found myself pondering as I watched this movie. It really is a great movie, and it is certainly worth any true film fan's time. I may have even liked (some of it at least) better than (again, "some of") La Dolce Vita.
Having grown up in a very Italian family - with my father having been born in a "pagliarone" ( roughly, a slang dialect term meaning "stone hut") in an ancient and very rural village probably not much unlike the one Fellini's main character ventures out to Rome from - I myself was definitely "right at home" , so to speak, watching scenes like the famous "dinner on the piazza". (Personally I could watch that scene again and again and not get tired of it, but...maybe it is "an Italian thing", so to speak, and others would not find it so amusing). However there certainly is no dearth of general humor to be found in the antics of the wild cast of characters which Fellini always brings into his films. And Roma of course is no exception to this. For example, the bedridden obese old woman in a hairnet, who owns the building that he stays in in Rome when he first arrives there, who tells him, "now let's just live in peace and not bust each other's balls"! Or the bald old man who does a rather convincing Mussolini impersonation. My personal favorite though would probably be either the ultra-tanned would-be "Continental" kind of guy who approaches the female American tourist telling her, "You VERY bella" and offering to take her picture, OR the guy in the piazza scene (which is supposed to have taken place some thirty years prior to that) who was wearing one of those nylon "do-rags" that rap stars favor today, and yelling up to his dark, beautiful brooding girlfriend to get down to the piazza before he beats the hell out of her ... "again". Sure, these are walking stereotypes, these characters, and negative ones at that. But, as they say, there is a kernel of truth (at least) in all stereotypes is there not? For instance that "dinner on the piazza" scene that I mentioned before? It does perhaps resemble some sort of "prototypical" summer-night-in-Bensonhurst, or somewhere like that, with plenty of gold chains, "dago-t's", and "pane e vino" to go around.
On a more serious note however the most touching scene (and this is a point that is usually generally agreed upon, I think, by most of the movie's fans) is the scene of the sudden (and apparently accidental) destruction of the ancient Roman frescoes by the modern Roman work-crew. Obviously this is Fellini's artistic "condemnation" , if you will, of the massive industrialization of the City in modern times, and the (clearly potentially disastrous) effects of what we may call the "godless modern" encountering the ancient and sacred. Cruel and loud machinery encountering the long-buried, the "resting-in-peace", the, once again, "sacred". It is in a way akin to some of the imagery in the much newer film called Fahrenheit 9/11. There we see American tanks and fighter jets turning up the sand with shells and bombs, and setting fires and explosions, in the very "Cradle of Civilization", the land of the very first codified and written-out system of law and order. Such imagery, like Fellini's vision of the vanishing ancient frescoes, is so evocative it can truly make the viewer want to weep.
Athough Roma has improved much since Fellini filmed it back in 1972 ( I just left there myself a couple of months ago so I can say this is definitely so), in this film, during the time that he is showing it to us, the City appears to be delusional, vaguely delirious with fever perhaps, or in the throes of a restless night full of tossings-and-turnings and wild "half-waking" dreams. It is these dreams which are in fact the "images" and "vignettes" that Fellini shows to us throughout the film.
Overall, in comparison with the (mostly) worthless garbage that is cluttering the racks at your local neighborhood video rental store, this film (ANY of Fellini's films for that matter) would certainly be much more rewarding for the would-be connoisseur of truly good movies to pick up and take home tonight.
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 		 Commentaires client les plus récents

1.0étoiles sur 5 Yes, it was weird
It is not only incoherent, but inconsistent. There is one scene, in which old frescoes, newly discovered, are destroyed by exposure to the fresh air, which does seem to convey... Read more
Publié le Jui 1 2004 par Rosemary West

5.0étoiles sur 5 More real than real
In watching this film, especially the parts shot at 'home' in the apartment, one gets that alien feeling as if showing embarassing home movies to a stranger. Read more
Publié le Avril 6 2004 par D. McClure

4.0étoiles sur 5 Odd, but not odd enough
An interesting film to watch once. I loved Fellini's Satyricon, and was searching for another like that. This one is disturbing, but not disturbing enough for me. Read more
Publié le Mars 2 2004 par Captain Tetanus

5.0étoiles sur 5 Rome Sweet Rome
Federico Fellini is a master and it is out of question. It is impossible to watch any of his movies and not to be fascinated --even if you don't like it. Read more
Publié le Jui 1 2003 par Alysson Oliveira

4.0étoiles sur 5 Startling urban images
Fellini takes the viewer on a tour of the city that becomes a kaleidoscope of ancient and modern images and impressions, from archaeological discoveries to the typical... Read more
Publié le Aoû 22 2002 par Pieter

5.0étoiles sur 5 Sublime...
...This movie is the ultimate achievement of film on film by a man who if he had been a painter would have been the equal of Picasso or Rembrandt or if he were a novelist would... Read more
Publié le Avril 13 2002 par inframan

3.0étoiles sur 5 Not one of Fellini's best but it still has its moments
In his later years, Fellini seemed to veer off into stream-of-consciousness flicks. 'Roma' feels like a conversation about Rome that moves from one topic to another with a vague... Read more
Publié le Juil 28 2001 par K. Hicks

4.0étoiles sur 5 A dreamy Fellini journey
Fellini's Roma is a delight for the senses. You do have to throw out your ideas of a conventional narrative, as the vignettes seems to go in a completely random order. Read more
Publié le Jui 16 2001 par Steve Arthur

4.0étoiles sur 5 Rome out of a dream
First, the worst. The sound is HORRIBLE. Not because of any master-to-DVD transfer problems but because all the sound was post-synchronized in the original production. Read more
Publié le Mai 16 2001 par Shimon

5.0étoiles sur 5 A Keeper
I love latching onto a DVD that's worth keeping - and that means worth repeated watchings. ROMA fits the bill. Read more
Publié le Avril 29 2001 par tom

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