It's been said that it was part of Fellini's own decay. That is a sad feeling, and the bottom line is that, "Ginger and Fred" is an anti-decay film because it refuses to show an artist's anihilation. Decay? Fellini was always interested in it. He depicted the decay of the roman society in such acclaimed films as "La dolce vita" and "Satyricon". Now, maybe a bit of old age, maybe a touch of bitterness (confirmed with his last film, "The voice of the moon", showed in 1990's Cannes Film Festival) towards noise and the nonsense of television. It's common knowledge that TV is the new oracle (along with the device that's allowing you to read this right now, the Internet), which, added to the lost of past innocence, when dancing and music were enough to satisfy a night's seek of emotions, were elements that mixed in the confusion that "Ginger and Fred" were samples of decay. "Ginger and Fred" was the first Fellini movie I saw at age 10, and I was inmediatly captured by the direct sense of humor, capacity of observation and freshness of a film director's name that sounded pretty strong to me ("Amarcord", especially). There's a camaraderie in the scenes with Marcello that could only come from a true artist love for actors and performers, which is the real subject of this movie. It's a real feast just to catch Fellini's cleverness when dealing with little people, priests, a transexual, a cow with twenty teats, imitators, an almirant, and a couple of Fred Astaire-Ginger Rogers veteran personification dancers, all rolled up in a christmas television marathon. Along with Fellini's most obvious resources (actors of strange characteristics; bittersweet situations that deal with the unexpected and the surreal, the vulgar and the humor towards everything) there's a subtle suspense feeling that culminates with the tender dance in the film's ending, before the aged dancers' last good-bye.