{"id":40726,"date":"2020-02-17T09:46:11","date_gmt":"2020-02-17T09:46:11","guid":{"rendered":"https:\/\/cinema.video\/?p=40726"},"modified":"2026-04-10T03:47:23","modified_gmt":"2026-04-10T01:47:23","slug":"when-rome-acted-for-fellini","status":"publish","type":"post","link":"https:\/\/cinema.video\/it\/when-rome-acted-for-fellini","title":{"rendered":"WHEN ROME ACTED FOR FELLINI"},"content":{"rendered":"\n<div class=\"wp-block-image\"><figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco-887x1024.png\" alt=\"\" class=\"wp-image-40727\" width=\"203\" height=\"234\" srcset=\"https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 887w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 260w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 768w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 1330w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 1774w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 150w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 300w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 696w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 1068w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 1920w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 364w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 1392w, https:\/\/cinema.video\/wp-content\/uploads\/logo_colore_bg_bianco.png 2088w\" sizes=\"auto, (max-width: 203px) 100vw, 203px\" \/><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Federico Fellini\u2019s cinema was able to capture the grotesque side of society, restoring a sense of topicality that continues to this day, one hundred years after his birth. <br>It is probably for this reason and due to his legacy, which has been taken up by so many directors, that the stories, faces and locations of his movies seem so familiar to us.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The locations in which he used to place his characters were never predictable. So Rome, which has interpreted itself many times, also \u201cplayed\u201d the Italian province at his service, becoming for example, along with its coast, the Rimini of the\u00a0<em>Vitelloni\u00a0<\/em>(1953).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Via Veneto, instead, the center of\u00a0<em>La Dolce Vita<\/em>\u00a0(1960), is real even though it was rebuilt in Cinecitt\u00e0 and while it is true that it is populated with stars hounded by paparazzi, there are also some oddball characters like the na\u00efve prostitute Giulietta Masina in the<em>\u00a0Nights of Cabiria<\/em>\u00a0(1957). <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Some Fellinian places are more frequented than others, however the director is successful in his attempt to place figures in them that occupy opposing steps on the social ladder: the exclusive nightclub of the Terme di Caracalla where Anita Ekberg performs an unrestrained dance was previously the archaeological walkway where Cabiria and her colleagues earned their living.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Eur is another recurring location in Fellinian cinema: the set for\u00a0<em>La Dolce Vita<\/em>, where the Palazzo dei Congressi becomes a hospital, is an open-air temple of carefreeness in\u00a0<em>Le tentazioni del Dottor Antonio<\/em>\u00a0(1962), or the place where the worst nightmares of Peppino De Filippo are embodied in the flourishing Anita Ekberg.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fregene deserves a separate chapter. <br>Its monumental pinewood frames a knowing Alberto Sordi dangling from a height of 30 meters in\u00a0<em>The White Sheik<\/em>\u00a0(1952); we find it populated with those grotesque figures encouraging<em>\u00a0Juliet of the Spirits<\/em>\u00a0(1965) (Masina) to leave her faithless husband and it becomes the out-of-the-way station in which Sn\u00e0poraz (Mastroianni) follows a woman before finding himself imprisoned in the dreamlike\u00a0<em>City of Women<\/em>\u00a0(1980).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Federico Fellini\u2019s cinema was able to capture the grotesque side of society, restoring a sense of topicality that continues to this day, one hundred years after his birth. It is probably for this reason and due to his legacy, which has been taken up by so many directors, that the stories, faces and locations of [&hellip;]<\/p>\n","protected":false},"author":101028,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"googlesitekit_rrm_CAow3e7fCw:productID":"","_crdt_document":"","footnotes":""},"categories":[1],"tags":[84],"class_list":{"0":"post-40726","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-senza-categoria","7":"tag-focus-on-italy"},"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.5 (Yoast SEO v27.5) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>WHEN ROME ACTED FOR FELLINI - Cinema &amp; Video International<\/title>\n<meta name=\"description\" content=\"WHEN ROME ACTED FOR FELLINI \u2013 when rome acted for fellini. 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