FEDERICO FELLINI - COMPLETE FILMOGRAPHYIt has been quite the treasure hunt, after many months of extensive searchingI have finally managed to compile the complete filmography of FedericoFellini. All films are complete with English subtitles, except "Block notes diun regista", which has English audio most of the time. As an added bonus, I'vealso included the documentary "Fellini: I'm a Born Liar" by Damian Pettigrew.Files are sorted in chronological order and labeled with English and Italiantitles, as well as year of original release.Thank you for spreading this gem of modern culture. Please buy these films ifyou like them, many of them are available on DVD worldwide.Cheers! alimony------------------------------------------------------------------------------ FEDERICO FELLINI 1920 1993The women who both attracted and frightened him and an Italy dominated in hisyouth by Mussolini and Pope Pius XII - inspired the dreams that Fellinistarted recording in notebooks in the 1960s. Life and dreams were raw materialfor his films.His native Rimini and characters like Saraghina (the devil herself said thepriests who ran his school) - and the Gambettola farmhouse of his paternalgrandmother would be remembered in several films. His traveling salesmanfather Urbano Fellini showed up in Dolce vita, La (1960) and 8 (1963). Hismother Ida Barbiani was from Rome and accompanied him there in 1939. Heenrolled in the University of Rome.Intrigued by the image of reporters in American films, he tried out the reallife role of journalist and caught the attention of several editors with hiscaricatures and cartoons and then started submitting articles. Severalarticles were recycled into a radio series about newlyweds "Cico and Pallina".Pallina was played by acting student Giulietta Masina, who became his reallife wife from October 30, 1943, until his death half a century later.The young Fellini loved vaudeville and was befriended in 1940 by leadingcomedian Aldo Fabrizi. Roberto Rossellini wanted Fabrizi to play Don Pietro inRoma, citt aperta (1945) and made the contact through Fellini. Fellini workedon that film's script and is on the credits for Rosselini's Pais (1946). Onthat film he wandered into the editing room, started observing how Italianfilms were made (a lot like the old silent films with an emphasis on visualeffects, dialogue dubbed in later). Fellini in his mid-20s had found hislife's work.------------------------------------------------------------------------------ FILMOGRAPHY Variety Lights (Luci del variet, 1950)Variety Lights is a bittersweet drama about a group of second-rate theatricalperformers on tour. The actors, dancers, and performers struggle to make moneyfrom town to town, playing to minimal crowds, while the aging manager of thecompany falls in love with a newcomer, to the chagrin of his faithfulmistress, played by Fellini's real-life wife, Giulietta Masina. The White Sheik (Lo Sceicco Bianco, 1952)Ivan Cavalli (Leopoldo Trieste) brings his new wife Wanda (Brunella Bovo) toRome on the least romantic honeymoon in history a rigid schedule of familymeetings and audiences with the Pope. But Wanda dreaming of the dashing heroof a photo-strip cartoon drifts off in search of the White Sheik thus settingoff a slapstick comedy worthy of Chaplin. The style and themes which madeFederico Fellini world famous are already apparent in this charming comedy(his first solo directorial effort) featuring such long-time collaborators ashis wife actress Giulietta Masina and composer Nino Rota. Marriage Agency (Agenzia matrimoniale, 1953) from the portmanteau film Love in the City (L'amore in citt)A young journalist visits a matrimonial service, looking for a wife for hisrich friend who suffers from a strange condition. I Vitelloni (1953)Five young men linger in post-adolescent limbo dreaming of adventure andescape from their small seacoast town. They while away their time spending thelira doled out by their indulgent families on drink, women, and nights at thelocal pool hall. Federico Fellini's second solo directorial effort (originallyreleased in the U.S. as The Young and the Passionate) is asemi-autobiographical masterpiece of sharply drawn character sketches:Skirt-chaser Fausto, forced to marry a girl he has impregnated; Alberto, theperpetual child; Leopoldo, a writer, thirsting for fame; and Moraldo, the onlymember of the group troubled by a moral conscience. An international successand recipient of an Academy Award nomination for Best Original Screenplay, IVitelloni compassionately details a year in the life of small-town layaboutsstruggling to find meaning in their lives. La Strada (1954)There has never been a face quite like that of Giulietta Masina. Her husband,the legendary Federico Fellini, directs her as Gelsomina in La Strada, thefilm that launched them both to international stardom. Gelsomina is sold byher mother into the employ of Zampan (Anthony Quinn), a brutal strongman.When Zampan encounters an old rival in highwire artist the Fool (RichardBasehart), his fury is provoked to its breaking point. With La Strada, Fellinileft behind the familiar signposts of Italian neorealism for a poetic fable oflove and cruelty, evoking brilliant performances and winning the hearts ofaudiences and critics worldwide. The Swindlers (Il Bidone, 1955)Aging small-time con man Augusto, who swindles peasants, works with twoyounger men: Roberto, who wants to become the Italian Johnny Ray, and Bruno,nicknamed Picasso, who has a wife and daughter and wants to paint. Augustoavoids the personal entanglements, spending money at clubs seeking the goodlife. His attitude changes when he runs into his own daughter, whom he rarelysees, and realizes she's now a young woman and in need of his help to continueher studies. His usual partners are away, so he goes in with others to run aswindle, and they aren't forgiving when he claims he's given the money back totheir mark. They leave him beaten, robbed, and alone. Nights of Cabiria (Le Notti di Cabiria, 1957)A year after his international breakthrough film La Strada, Federico Felliniand his leading lady/wife Giulietta Masina collaborated on anothermasterpiece, a magical mix of neorealism and romantic optimism set on thestreets of Rome. Masina's moon-faced and bright-eyed Cabiria is a passionatestreetwalker with a heart as big as Italy and the emotional spontaneity of achild, a woman with a hearty passion for life whose constant weakness isfalling in love with mercenary creeps. For a couple of hours we share thedreams and disillusionments of Cabiria as she rattles around Rome before onceagain losing her heart. The bittersweet heartbreak is tempered with a soaringcelebration of the human spirit: no other Fellini film offers such honest hopein the face of such bitter devastation. Fellini left the poor and the workingclass to revel in the decadence of Rome's high society for his next film, LaDolce Vita, a film that could have sprung from Cabiria's hilarious chanceinterlude with a matinee idol (played by Amedeo Nazzari). Rambling andleisurely paced, Nights of Cabiria is a sweet film of warmth and simple grace.It became the basis of Neil Simon's American musical Sweet Charity, withShirley Maclaine taking Masina's role in Bob Fosse's film version. La Dolce Vita (1960)At three brief hours, La Dolce Vita, a piece of cynical, engrossing socialcommentary, stands as Federico Fellini's timeless masterpiece. A rich,detailed panorama of Rome's modern decadence and sophisticated immorality, thefilm is episodic in structure but held tightly in focus by the wanderingprotagonist through whom we witness the sordid action. Marcello Rubini(extraordinarily played by Marcello Mastroianni) is a tabloid reporter trappedin a shallow high-society existence. A man of paradoxical emotionaljuxtapositions (cool but tortured, sexy but impotent), he dreams about writingsomething important but remains seduced by the money and prestige thataccompany his shallow position. He romanticizes finding true love but actsunfazed upon finding that his girlfriend has taken an overdose of sleepingpills. Instead, he engages in an mnage trois, then frolics in a fountainwith a giggling American starlet (bombshell Anita Ekberg), and in the film'sunforgettably inspired finale, attends a wild orgy that ends, symbolically,with its participants finding a rotting sea animal while wandering the beachat dawn. Fellini saw his film as life affirming (thus its title, The SweetLife), but it's impossible to take him seriously. While Mastroianni driftsfrom one worldly pleasure to another, be it sex, drink, glamorous parties, orrich foods, they are presented, through his detached eyes, are merelymomentary distractions. His existence, an endless series of wild evenings andlonely mornings, is ultimately soulless and facile. Because he lacks thecourage to change, Mastroianni is left with no alternative but to wearilyaccept and enjoy this "sweet" life. The Temptation of Dr. Antonio (Le tentazioni del dottor Antonio, 1962) from the portmanteau film Boccaccio '70The Temptation of Dr. Antonio, is fantastical and big-scaled. It tells of acensorious bluenose (Peppino de Filippo) who becomes incensed at the presenceof a billboard featuring a sexy portrait of Anita Ekberg (selling milk) -- aportrait that comes to life. For this bizarre escapade, Nino Rota composed anadvertising jingle that will stick in your mind whether you want it to or not. 8 (1963)Federico Fellini's 1963 semi-autobiographical story about a worshippedfilmmaker who has lost his inspiration is still a mesmerizing mystery tourthat has been quoted (Woody Allen's Stardust Memories, Paul Mazursky's Alex inWonderland) but never duplicated. Marcello Mastroianni plays Guido, a directortrying to relax a bit in the wake of his latest hit. Besieged by people eagerto work with him, however, he also struggles to find his next idea for a film.The combined pressures draw him within himself, where his recollections ofsignificant events in his life and the many lovers he has left behind begin tohaunt him. The marriage of Fellini's hyperreal imagery, dreamy sidebars, andthe gravity of Guido's increasing guilt and self-awareness make this as much adeeply moving, soulful film as it is an electrifying spectacle. Mastroianni iswonderful in the lead, his woozy sensitivity to Guido's freefall both touchingand charming--all the more so as the character becomes increasingly divorcedfrom the celebrity hype that ultimately outpaces him. Juliet of the Spirits (Giulietta degli spiriti, 1965)Giulietta explores both her subconscious and the odd lifestyle of her sexyneighbor, Suzy, as she attempts to deal with the mundane life and philanderinghusband that oppress her. As she increasingly taps into her desires, as wellas her demons, she slowly gains more self-awareness and, ultimately,independence. Toby Dammit (1968) from the portmanteau film Spirits of the Dead (Histoires extraordinaires)Former Shakespearean actor Toby Dammit is losing his acting career as he istempted by alcohol. He agrees to work on a film where he will be paid with aFerrari. After helping a young girl who has lost her ball, Dammit begins tohave visions of the girl and the ball. Block notes di un regista (1969)Fellini discusses his views of making motion pictures and his unorthodoxprocedures. He seeks inspiration in various out of the way places. During thisfilm viewers go with him to the Colisseum at night, on a subway ride pastRoman ruins, to the Appian Way, to a slaughterhouse, and on a visit toMarcello Mastroianni's house. Fellini also is seen in his own officeinterviewing a series of unusual characters seeking work or his help. Satyricon (1969)Trippy is as trippy does, even when you're talking about a movie set inancient Rome. This 1969 Fellini opus was among the most visually arrestingentries in a year when the psychedelic experience was trying to claw its wayinto every movie coming down the pike. But Fellini, in telling a negligiblestory about two young men tasting the various pleasures of Nero's hedonisticand priapic reign, aimed for images that jarred as well as seduced. He foundhumor in freakishness, contrasting beauty and ugliness while effortlesslypassing judgment on the emptiness of a life devoted to sensation and personalfreedom. More of a fever dream than a linear story, Fellini Satyriconcrystallized the director's reputation as a visionary--but may have trappedhim into spending the rest of his career (with the exception of Amarcord)trying to top himself in reaching new levels of outrageousness. The Clowns (I Clowns, 1970)Fellini's homage to circus clowns is in itself a clownish spoof as it invadesthe screen with three rings of slapstick, spectacle and sensation. "My filmsowe an enormous amount to the circus," said Fellini. "For me the clowns werealways a traumatic visual experience, ambassadors of a vocation of a showman."This affectionate journey to the root of Fellini's inspiration is comic andmagically moving, with one of the best musical scores by the great Nino Rota. Roma (1972)Federico Fellini's 1972 ode to the city of Rome is far from a coherentnarrative, but as a selection of images and sounds celebrating the famedItalian capital, it's dazzling and hugely enjoyable. Stylistically, it's aperfect bridge between the excesses of Satyricon and the nostalgia ofAmarcord, and it showcases the true love that Fellini had for the EternalCity. Mixing autobiographical flashbacks with the travails of a present-daymovie company making a film about the city (headed up by Fellini himself),Roma is an impressionistic tour de force, delivered via Fellini's uniquecinematic vision. If you can't tolerate Fellini's larger-than-life approach,the sometimes-garish colors, or the circus atmosphere, you'll probably findRoma insufferable. But fans of Fellini will be in seventh heaven, especiallyduring some of the wonderful set pieces--a music dance hall performance that'sinterrupted by bombing during World War II; a papal fashion show that's sosurreal it must be seen to be believed; and a breathtaking sequence in whichthe film crew, tagging along with an archaeological dig, happens upon anancient Roman catacomb and watches as the beautiful murals disintegrate beforetheir eyes. Through it all, Fellini's passion for Rome (and moviemaking)shines through, especially in the film's climax, a dialogue-free sequence ofmotorcycles roaring through the city at night, a tour that ends at themagnificent Colosseum. At that marriage of past and present, Roma is about asperfect as cinema can get. Amarcord (1973)From moment to moment and shot by shot, Amarcord delivers more sheer pleasurethan any other Federico Fellini movie. That's not to say it's his greatestfilm, or that anything in it rivals the emotional, lyrical, or metaphysicalwallop of the finest passages in Nights of Cabiria, 8 1/2, La Strada, or evenLa Dolce Vita, the big early-'60s crossover hit that made the director king ofthe international film world. But Amarcord was the last clear triumph ofFellini's career, his prodigious gifts for phantasmagoria, amazing fluidity,and gregarious choreography all feeding an emotional core that caught ataudiences' heartstrings and carried them away.The title is supposed to mean "I remember," and the film is ostensibly amemory-dream-diary of life in the director's seaside hometown of Rimini duringone year in the 1930s. But Fellini was an irrepressible showman who lovedpulling the audience's collective chain, and Amarcord is no morestraightforward as a recollection of his real adolescence than "amarcord" is areal word--Fellini made it up as a bit of pretend vernacular. So the strollingtown historian who pops up occasionally to supply antiquarian footnotesdirectly to the camera more often than not gets pelted with snowballs fromoffscreen. Just as Nino Rota's (wonderful) music score recycles melodies fromhis scores for earlier Fellini masterworks, Fellini's movie is full of lyricecstasies--spontaneous parades, comic ceremonies, eye-popping surrealistmoments--that exist principally because that is what a Fellini movie issupposed to be like. There's no dominant story line, no individual characteror player to be identified as the center of the film's swirling movement. Yetwe do get to "know," and begin to cherish, literally dozens of goofy,eccentric, funny/sad creatures who have their distinct places in the continuumof Fellini's made-up town and reimagined Italy of a bygone era.The era was, of course, that of Facsism. Fellini's take on Fascism here isanything but portentous; the giddy nationalism given voice occasionally bydelirious crowds of townsfolk is no more sinister than the same crowd mighthave been in cheering on the local football team. In the movie's most famousset-piece, dozens of locals put out to sea in small boats to witness thepassage of a fabulous ocean liner, the Rex, "the greatest construction of theregime." Waiting, they sleep--till suddenly the luminous (and entirely unreal)vision is towering above them, threatening to swamp them all. The moment isboth ecstatic and terrifying. It's not the only one. Fellini's Casanova (Il Casanova di Federico Fellini, 1976)A carnival in Venice is the prelude to a series of erotic encounters thatfollow Giacomo Casanova through the cities of 18th century Europe. It is theage of Voltaire sexual and intellectual awakenings abound. Instead ofadventure though, Casanova's life becomes a freakish journey into sexualabandonment. Any meaningful emotion or sensuality is eclipsed by increasinglystrange situations. In Venice he defiles a nun for the pleasure of a voyeur,in Paris he attempts to convert a mature woman's soul into a man's (usingintercourse), and in Dresden his body is pounded by two hefty women and ahunchback. Hence the film's narrative presents Casanova's adventures in adetached, methodical fashion, as the respect he yearns for is constantlyundermined by more basic urges.The script also highlights a number of other incidents from Casanova's life,including his escape from a Venetian prison and his visit to a London Frostfair. The film was shot entirely in Rome's Cinecitt studios and received anAcademy Award for Best Costume Design, with the Oscar going to Danilo Donati. Orchestra Rehearsal (Prova d'orchestra, 1978)In a Medieval Roman chapel, now an oratorio, an elderly factotum sets up forrehearsal. The musicians arrive, joking and teasing. A union shop stewardexplains that a TV crew is there, talking to them is optional, and there willbe no extra compensation. Musicians talk about their instruments. The Germanconductor arrives and puts them through their paces. He yells, he insults. Theshop steward calls a 20 minute break. The conductor retreats to his dressingroom and talks about how the world of music has changed, moving away fromrespect for the conductor. He returns to the rehearsal to find the orchestrain full revolt. What can bring them back to the music? City of Women (La Citt Delle Donne, 1980)Marcello is in the compartment of an Italian train, facing forward when themineral water of the woman seated across from him starts to fall toward him.He catches the bottle and makes eye contact and follows her when she leavesthe compartment. For a few moments she finds him attractive too. Then suddenlyshe gets off the train and starts walking through a field. Marcello followsher, loses her, finds himself in a large hotel surrounded by women. A feministconference is taking place and he tries to escape. And the Ship Sails On (E La Nave Va, 1983)In July 1914 a luxury liner leaves Italy with the ashes of the famous operasinger Tetua. The boat is filled with her friends, opera singers, actors andall kinds of exotic people. Life is sweet the first days, but on the third daythe captain has to save a a large number of Serbian refugees from the sea,refugees who had escaped the first tremors of WWI. Ginger and Fred (Ginger e Fred, 1986)Amelia and Pippo are reunited after several decades to perform their oldmusic-hall act (imitating Fred Astaire and Ginger Rogers) on a TV varietyshow. It's both a touchingly nostalgic journey into the past, and a viciouslysatirical attack on television in general and Italian TV in particular,portraying it as a mindless freakshow aimed at morons. Intervista (1987)Once again making a movie about making a movie, this film, too, enablesFellini to blur the line between documentary and fiction. Fellini, AnitaEkberg and Marcello Mastroianni appear as themselves as a (fictional) Japanesejournalist arrives on the set to interview the cast. The camera takes theviewer behind the scenes as the set is prepared for a scene depicting acharacter based on the young Fellini, a journalist in Fascist Italy about tointerview a local starlet. Seamlessly, the illusion takes over the realitiesof moviemaking, and the viewer is thrown into the scene itself. But only for ashort while; for the rest of the film, Fellini and his assistant directorMaurizio Mein scramble to recruit the right cast and build the set for anadaptation of Kafka's Amerika (which adaptation is fictitious - Fellini wasnever making the film). Along the way viewers are treated to disgruntledactors who failed their auditions, bomb threats, a visit to Anita Ekberg'shouse where she and Marcello Mastroianni re-live their La dolce vita scenes,an inconvenient thunderstorm, and arguments among the crew. The Voice of the Moon (La voce della luna, 1990)Returning to themes he first explored in La strada (1954), Fellini crafts aparable on the whisperings of the soul that only madmen and vagabonds arecapable of hearing. The odd couple, Ivo Salvini (Benigni), a fake inspector ofwells, and Gonnella (Villaggio), a former prefect, wander through theEmilia-Romagna countryside of Fellini's childhood and discover a dystopia oftelevision commercials, fascism, beauty pageants, rock music, Catholicism andpagan ritual. It was Fellini's last film before his death in 1993. BONUS: Fellini: I'm A Born Liar (Je suis un grand menteur, 2002)In 1992, one year before his death, Italian director/screenwriter FedericoFellini was interviewed by documentary filmmaker Damian Pettigrew. Fellinievokes memories of his childhood, speaks about his fear of women, confides hisneed for spirituality and seems serene in the face of death. But especially,Fellini speaks abundantly about his work as a director. His remarks areinterspersed with testimonies from some of his actors (Terence Stamp, DonaldSutherland, Roberto Benigni), his collaborators and his friends. Extracts ofhis films are shown as well as archival footage of him on the set, directinghis films.------------------------------------------------------------------------------Film descriptions from IMDb, Wikipedia or Amazon, with slight changes inspelling, references and typography.