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Amarcord
Amarcord centers on Titta, an adolescent boy growing up among an eccentric cast of characters in the village of Borgo San Giuliano and social rituals, adolescent desires, male fantasies, and political subterfuge in 1930s Fascist Italy.
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28 November 1950, Ravenna, Emilia-Romagna, Italy
September 12, 1904 in Rome, Lazio, Italy
9 April 1951, Vigonovo, Veneto, Italy
1923, Livorno, Tuscany, Italy
26 July 1930, Bologna, Italy
5 October 1922, Palermo, Sicily, Italy
19 March 1901, Naples, Campania, Italy
3 February 1950, Rome, Lazio, Italy
1943, Rome, Lazio, Italy
24 April 1910, Naples, Campania, Italy
29 July 1934, Portomaggiore, Emilia-Romagna, Italy
30 January 1921, Palombara Sabina, Rome, Lazio, Italy
9 December 1930, Rome, Lazio, Italy
27 June 1932, Izmir, Turkey
February 26, 2011
Sweet and endearing for many, irritating and tedious for others.
April 27, 2009
Bloated, overblown and essentially empty, Fellini's last hit movie skims over the surface of the lives it depicts, substituting manufactured sentiment for genuine feeling or understanding.
December 13, 2009
[S]imply nonsensical to me. Fascists are idiots, Catholic priests are clowns -- I agree with this. So why don't I feel it?
January 10, 2016
Fellini shoots much of the film in muted colors that seem slightly out-of-focus, as if he were attempting to transport us into a dreamlike state.
December 17, 2009
Seen today, Amarcord is something of a disappointment, clever and moving in places, but also sprawling, undisciplined, clumsy in patches, and decidedly overlong.
March 13, 2009
Orthodox Fellini lovers will give primacy to La Strada or La Dolce Vita, but Amarcord has its fans, and it's easy to see why.
September 08, 2013
Fellini's ability to compose a frame that oozes baroque drama and vitality is almost unparalleled and Amarcord more or less succeeded for me in evoking a time period through the eyes of a young boy...
December 22, 2009
Continues to resemble something a lewd, grouchy, fitfully indecent silent-movie director might have made for his first time using color and sound. That, at least, would explain the shouting.
February 13, 2009
He [Director Fellini] leaves us with the hope that the human comedy just may be able to survive everything.
December 03, 2008
This Fellini opus is his most accessible to mass audiences since La Dolce Vita.
March 27, 2009
Federico Fellini's films beg to be seen on a movie screen. Their panoramic, overstuffed frames and larger-than-life characters overflow the boundaries of home theater; their exuberant, generous humor is best enjoyed in a packed auditorium.
April 27, 2009
Fellini is so bountiful with incident and observation that he makes most other film makers seem stingy.
