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Amarcord Still Sentimental, Sexist ... and Great

Fellini gives us a coming-of-age during 1930s fascist Italy

By Victoria Floethe,  Newser User

Posted Dec 8, 2008 1:56 PM CST

(Newser) – “Kids, dogs, wisecracking old men and well-proportioned female derrières take up a significant portion of screen time in Amarcord,” writes Andrew O’Hehir in Salon of the newly re-released, semi-autobiographical coming-of-age tale from Federico Fellini—but it doesn’t lack gravitas. The color restoration is as “eye-popping” as the topless scene that brings Titta, the desperately horny teenage boy, “up close and personal with the bodacious town tobacconist.”

From Fellini we get “what he loved and what he hated about the provincial Italian character”—he skewers Mussolini and the fascism sweeping up the seaside town of Rimini. “He always understood,” writes O’Hehir, “that the storyteller’s magical incantations, which allow the past to live again, bring back the things that still hurt and the things that never made sense along with the joys.”

Federico Fellini's 1973 Amarcord captures the great Italian director at the peak of his cinematic powers.
Federico Fellini's 1973 "Amarcord" captures the great Italian director at the peak of his cinematic powers.   (MovieWeb)
Federico Fellini's 1973 Amarcord captures the great Italian director at the peak of his cinematic powers.
Federico Fellini's 1973 "Amarcord" captures the great Italian director at the peak of his cinematic powers.   (Wikipedia)
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Original American release trailer for Federico Fellini's "Amarcord."   (janusfilmsnyc)

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If you're...getting ready to ask whether "Amarcord," like most of Fellini's later movies, isn't simultaneously sentimental and sexist, here's my answer: It sure the hell is. - Andrew O'Hehir, Salon

The cigarette girl's enormous breasts and Titta's encounter with them are only as real as the gigantic spectral ocean liner the whole town rows out to see, or the 28 Arab concubines serviced in one night by the fruit merchant... - Andrew O'Hehir, Salon

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