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Federico Fellini, Cavaliere di Gran Croce OMRI (Italian: [federiko fellini]; 20 January 1920 31 October 1993) was an Italian film director and screenwriter known for his distinctive style, which blends fantasy and baroque images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time.

His films have ranked highly in critical polls such as that of Cahiers du cinéma and Sight & Sound, which lists his 1963 film 8 12 as the 10th-greatest film. For La Dolce Vita Fellini won the Palme d'Or, was nominated for twelve Academy Awards, and won four in the category of Best Foreign Language Film, the most for any director in the history of the Academy.

He received an honorary award for Lifetime Achievement at the 65th Academy Awards in Los Angeles. His other well-known films include La Strada (1954), Nights of Cabiria (1957), Juliet of the Spirits (1967), the "Toby Dammit" segment of Spirits of the Dead (1968), Fellini Satyricon (1969), Roma (1972), Amarcord (1973), and Fellini's Casanova (1976). Fellini was ranked 2nd in the directors' poll and 7th in the critics' poll in Sight & Sound's 2002 list of the greatest directors of all time.

Contents 1 Early life and education 1.1 Rimini (19201938) 1.2 Rome (1939) 2 Career and later life 2.1 Early screenplays (19401943) 2.2 Neorealist apprenticeship (19441949) 2.3 Early films (19501953) 2.4 Beyond neorealism (19541960) 2.5 Art films and dreams (19611969) 2.6 Nostalgia, sexuality, and politics (19701980) 2.7 Late films and projects (19811990) 2.8 Final years (19911993) 3 Death 4 Religious views 5 Political views 6 Influence and legacy 7 Filmography 7.1 As a director 7.2 As a screenwriter 8 Awards and nominations 8.1 Academy Awards 8.2 Other awards 8.3 Honors 9 Documentaries on Fellini 10 See also 11 Notes 12 References 13 Sources 14 External links Early life and education[edit] Rimini (19201938)[edit] Fellini was born on 20 January 1920, to middle-class parents in Rimini, then a small town on the Adriatic Sea. On 25 January, at the San Nicolò church he was baptized Federico Domenico Marcello Fellini. [1] His father, Urbano Fellini (18941956), born to a family of Romagnol peasants and small landholders from Gambettola, moved to Rome in 1915 as a baker apprenticed to the Pantanella pasta factory. His mother, Ida Barbiani (18961984), came from a bourgeois Catholic family of Roman merchants.

Despite her family's vehement disapproval, she had eloped with Urbano in 1917 to live at his parents' home in Gambettola. [2] A civil marriage followed in 1918 with the religious ceremony held at Santa Maria Maggiore in Rome a year later.

The couple settled in Rimini where Urbano became a traveling salesman and wholesale vendor. Fellini had two siblings: Riccardo (19211991), a documentary director for RAI Television, and Maria Maddalena m. In 1924, Fellini started primary school in an institute run by the nuns of San Vincenzo in Rimini, attending the Carlo Tonni public school two years later.

An attentive student, he spent his leisure time drawing, staging puppet shows and reading Il corriere dei piccoli, the popular children's magazine that reproduced traditional American cartoons by Winsor McCay, George McManus and Frederick Burr Opper. Opper's Happy Hooligan would provide the visual inspiration for Gelsomina in Fellini's 1954 film La Strada; McCay's Little Nemo would directly influence his 1980 film City of Women. [3] In 1926, he discovered the world of Grand Guignol, the circus with Pierino the Clown and the movies.

Guido Brignones Maciste allInferno (1926), the first film he saw, would mark him in ways linked to Dante and the cinema throughout his entire career. [4] Enrolled at the Ginnasio Giulio Cesare in 1929, he made friends with Luigi Titta Benzi, later a prominent Rimini lawyer and the model for young Titta in Amarcord (1973). In Mussolinis Italy, Fellini and Riccardo became members of the Avanguardista, the compulsory Fascist youth group for males. He visited Rome with his parents for the first time in 1933, the year of the maiden voyage of the transatlantic ocean liner SS Rex (which is shown in Amarcord). The sea creature found on the beach at the end of La Dolce Vita (1960) has its basis in a giant fish marooned on a Rimini beach during a storm in 1934. Although Fellini adapted key events from his childhood and adolescence in films such as I Vitelloni (1953), 8 12 (1963), and Amarcord (1973), he insisted that such autobiographical memories were inventions: It is not memory that dominates my films. To say that my films are autobiographical is an overly facile liquidation, a hasty classification. It seems to me that I have invented almost everything: childhood, character, nostalgias, dreams, memories, for the pleasure of being able to recount them. [5] In 1937, Fellini opened Febo, a portrait shop in Rimini, with the painter Demos Bonini. His first humorous article appeared in the "Postcards to Our Readers" section of Milan's Domenica del Corriere. Deciding on a career as a caricaturist and gag writer, Fellini travelled to Florence in 1938, where he published his first cartoon in the weekly 420. According to a biographer, Fellini found school "exasperating"[6] and, in one year, had 67 absences.

[7] Failing his military culture exam, he graduated from high school in July 1938 after doubling the exam. Rome (1939)[edit] In September 1939, he enrolled in law school at the University of Rome to please his parents. Biographer Hollis Alpert reports that "there is no record of his ever having attended a class". [8] Installed in a family pensione, he met another lifelong friend, the painter Rinaldo Geleng.

Desperately poor, they unsuccessfully joined forces to draw sketches of restaurant and café patrons. Fellini eventually found work as a cub reporter on the dailies Il Piccolo and Il Popolo di Roma, but quit after a short stint, bored by the local court news assignments. Four months after publishing his first article in MarcAurelio, the highly influential biweekly humour magazine, he joined the editorial board, achieving success with a regular column titled But Are You Listening?

[9] Described as the determining moment in Fellinis life, [10] the magazine gave him steady employment between 1939 and 1942, when he interacted with writers, gagmen, and scriptwriters. These encounters eventually led to opportunities in show business and cinema.

Among his collaborators on the magazine's editorial board were the future director Ettore Scola, Marxist theorist and scriptwriter Cesare Zavattini, and Bernardino Zapponi, a future Fellini screenwriter. Conducting interviews for CineMagazzino also proved congenial: when asked to interview Aldo Fabrizi, Italy's most popular variety performer, he established such immediate personal rapport with the man that they collaborated professionally. Specializing in humorous monologues, Fabrizi commissioned material from his young protégé. [11] Career and later life[edit] Early screenplays (19401943)[edit] Federico Fellini during the 1950s Retained on business in Rimini, Urbano sent wife and family to Rome in 1940 to share an apartment with his son. Fellini and Ruggero Maccari, also on the staff of MarcAurelio, began writing radio sketches and gags for films. Not yet twenty and with Fabrizi's help, Fellini obtained his first screen credit as a comedy writer on Mario Mattolis Il pirata sono io (The Pirate's Dream). Progressing rapidly to numerous collaborations on films at Cinecittà, his circle of professional acquaintances widened to include novelist Vitaliano Brancati and scriptwriter Piero Tellini. In the wake of Mussolinis declaration of war against France and Britain on 10 June 1940, Fellini discovered Kafkas The Metamorphosis, Gogol, John Steinbeck and William Faulkner along with French films by Marcel Carné, René Clair, and Julien Duvivier. [12] In 1941 he published Il mio amico Pasqualino, a 74-page booklet in ten chapters describing the absurd adventures of Pasqualino, an alter ego. [13] Writing for radio while attempting to avoid the draft, Fellini met his future wife Giulietta Masina in a studio office at the Italian public radio broadcaster EIAR in the autumn of 1942. Well-paid as the voice of Pallina in Fellini's radio serial, Cico and Pallina, Masina was also well known for her musical-comedy broadcasts which cheered an audience depressed by the war.

And of course the fame counts for something too. Radio is a booming business and comedy reviews have a broad and devoted public. [14] In November 1942, Fellini was sent to Libya, occupied by Fascist Italy, to work on the screenplay of I cavalieri del deserto (Knights of the Desert, 1942), directed by Osvaldo Valenti and Gino Talamo. Fellini welcomed the assignment as it allowed him "to secure another extension on his draft order". [15] Responsible for emergency re-writing, he also directed the film's first scenes.

When Tripoli fell under siege by British forces, he and his colleagues made a narrow escape by boarding a German military plane flying to Sicily. His African adventure, later published in MarcAurelio as "The First Flight", marked the emergence of a new Fellini, no longer just a screenwriter, working and sketching at his desk, but a filmmaker out in the field. [16] The apolitical Fellini was finally freed of the draft when an Allied air raid over Bologna destroyed his medical records. Fellini and Giulietta hid in her aunt's apartment until Mussolini's fall on 25 July 1943. After dating for nine months, the couple were married on 30 October 1943. Several months later, Masina fell down the stairs and suffered a miscarriage. She gave birth to a son, Pierfederico, on 22 March 1945, but the child died of encephalitis 11 days later on 2 April 1945. [17] The tragedy had enduring emotional and artistic repercussions.

[18] Neorealist apprenticeship (19441949)[edit] After the Allied liberation of Rome on 4 June 1944, Fellini and Enrico De Seta opened the Funny Face Shop where they survived the postwar recession drawing caricatures of American soldiers. He became involved with Italian Neorealism when Roberto Rossellini, at work on Stories of Yesteryear (later Rome, Open City), met Fellini in his shop, and proposed he contribute gags and dialogue for the script. Aware of Fellini's reputation as Aldo Fabrizi's creative muse, [19] Rossellini also requested that he try to convince the actor to play the role of Father Giuseppe Morosini, the parish priest executed by the SS on 4 April 1944. In 1947, Fellini and Sergio Amidei received an Oscar nomination for the screenplay of Rome, Open City.

Working as both screenwriter and assistant director on Rossellini's Paisà (Paisan) in 1946, Fellini was entrusted to film the Sicilian scenes in Maiori. In February 1948, he was introduced to Marcello Mastroianni, then a young theatre actor appearing in a play with Giulietta Masina. [20] Establishing a close working relationship with Alberto Lattuada, Fellini co-wrote the director's Senza pietà (Without Pity) and Il mulino del Po (The Mill on the Po). Fellini also worked with Rossellini on the anthology film L'Amore (1948), co-writing the screenplay and in one segment titled, "The Miracle", acting opposite Anna Magnani. To play the role of a vagabond rogue mistaken by Magnani for a saint, Fellini had to bleach his black hair blond.

Early films (19501953)[edit] Fellini, Masina, Carla del Poggio and Alberto Lattuada, 1952 In 1950 Fellini co-produced and co-directed with Alberto Lattuada Variety Lights (Luci del varietà), his first feature film. A backstage comedy set among the world of small-time travelling performers, it featured Giulietta Masina and Lattuada's wife, Carla Del Poggio. Its release to poor reviews and limited distribution proved disastrous for all concerned. The production company went bankrupt, leaving both Fellini and Lattuada with debts to pay for over a decade.

[21] In February 1950, Paisà received an Oscar nomination for the screenplay by Rossellini, Sergio Amidei, and Fellini. After travelling to Paris for a script conference with Rossellini on Europa'51, Fellini began production on The White Sheik in September 1951, his first solo-directed feature.

Starring Alberto Sordi in the title role, the film is a revised version of a treatment first written by Michelangelo Antonioni in 1949 and based on the fotoromanzi, the photographed cartoon strip romances popular in Italy at the time. Producer Carlo Ponti commissioned Fellini and Tullio Pinelli to write the script but Antonioni rejected the story they developed. With Ennio Flaiano, they re-worked the material into a light-hearted satire about newlywed couple Ivan and Wanda Cavalli (Leopoldo Trieste, Brunella Bovo) in Rome to visit the Pope.

Ivan's prissy mask of respectability is soon demolished by his wife's obsession with the White Sheik. Highlighting the music of Nino Rota, the film was selected at Cannes (among the films in competition was Orson Welless Othello) and then retracted.

Screened at the 13th Venice International Film Festival, it was razzed by critics in the atmosphere of a soccer match. [22] One reviewer declared that Fellini had not the slightest aptitude for cinema direction. In 1953, I Vitelloni found favour with the critics and public.

Winning the Silver Lion Award in Venice, it secured Fellini his first international distributor. Beyond neorealism (19541960)[edit] Cinecittà - Teatro 5, Fellini's favorite studio. [23] Fellini directed La Strada based on a script completed in 1952 with Pinelli and Flaiano.

During the last three weeks of shooting, Fellini experienced the first signs of severe clinical depression. [24] Aided by his wife, he undertook a brief period of therapy with Freudian psychoanalyst Emilio Servadio. [24] Fellini cast American actor Broderick Crawford to interpret the role of an aging swindler in Il Bidone. Based partly on stories told to him by a petty thief during production of La Strada, Fellini developed the script into a con man's slow descent towards a solitary death.

To incarnate the role's "intense, tragic face", Fellini's first choice had been Humphrey Bogart, [25] but after learning of the actor's lung cancer, chose Crawford after seeing his face on the theatrical poster of All the Kings Men (1949). [26] The film shoot was wrought with difficulties stemming from Crawford's alcoholism. [27] Savaged by critics at the 16th Venice International Film Festival, the film did miserably at the box office and did not receive international distribution until 1964.

During the autumn, Fellini researched and developed a treatment based on a film adaptation of Mario Tobinos novel, The Free Women of Magliano. Set in a mental institution for women, the project was abandoned when financial backers considered the subject had no potential. [28] While preparing Nights of Cabiria in spring 1956, Fellini learned of his fathers death by cardiac arrest at the age of sixty-two.

Produced by Dino De Laurentiis and starring Giulietta Masina, the film took its inspiration from news reports of a womans severed head retrieved in a lake and stories by Wanda, a shantytown prostitute Fellini met on the set of Il Bidone. [29] Pier Paolo Pasolini was hired to translate Flaiano and Pinellis dialogue into Roman dialect and to supervise researches in the vice-afflicted suburbs of Rome. The movie won the Academy Award for Best Foreign Language Film at the 30th Academy Awards and brought Masina the Best Actress Award at Cannes for her performance.

[30] With Pinelli, he developed Journey with Anita for Sophia Loren and Gregory Peck. An "invention born out of intimate truth", the script was based on Fellini's return to Rimini with a mistress to attend his father's funeral. [31] Due to Loren's unavailability, the project was shelved and resurrected twenty-five years later as Lovers and Liars (1981), a comedy directed by Mario Monicelli with Goldie Hawn and Giancarlo Giannini.

For Eduardo De Filippo, he co-wrote the script of Fortunella, tailoring the lead role to accommodate Masina's particular sensibility. [citation needed] The Hollywood on the Tiber phenomenon of 1958 in which American studios profited from the cheap studio labour available in Rome provided the backdrop for photojournalists to steal shots of celebrities on the via Veneto. [32] The scandal provoked by Turkish dancer Haish Nana's improvised striptease at a nightclub captured Fellini's imagination: he decided to end his latest script-in-progress, Moraldo in the City, with an all-night "orgy" at a seaside villa. Pierluigi Praturlons photos of Anita Ekberg wading fully dressed in the Trevi Fountain provided further inspiration for Fellini and his scriptwriters.

[33] Changing the title of the screenplay to La Dolce Vita, Fellini soon clashed with his producer on casting: the director insisted on the relatively unknown Mastroianni while De Laurentiis wanted Paul Newman as a hedge on his investment. Shooting began on 16 March 1959 with Anita Ekberg climbing the stairs to the cupola of Saint Peters in a mammoth décor constructed at Cinecittà. The statue of Christ flown by helicopter over Rome to Saint Peter's Square was inspired by an actual media event on 1 May 1956, which Fellini had witnessed. The film wrapped August 15 on a deserted beach at Passo Oscuro with a bloated mutant fish designed by Piero Gherardi. [citation needed] La Dolce Vita broke all box office records. At an exclusive Milan screening on 5 February 1960, one outraged patron spat on Fellini while others hurled insults. Denounced in parliament by right-wing conservatives, undersecretary Domenico Magrì of the Christian Democrats demanded tolerance for the film's controversial themes. [35] The Vatican's official press organ, l'Osservatore Romano, lobbied for censorship while the Board of Roman Parish Priests and the Genealogical Board of Italian Nobility attacked the film.

In one documented instance involving favourable reviews written by the Jesuits of San Fedele, defending La Dolce Vita had severe consequences. [36] In competition at Cannes alongside Antonioni's LAvventura, the film won the Palme d'Or awarded by presiding juror Georges Simenon.

The Belgian writer was promptly hissed at by the disapproving festival crowd. [37] Art films and dreams (19611969)[edit] Federico Fellini A major discovery for Fellini after his Italian neorealism period (19501959) was the work of Carl Jung. After meeting Jungian psychoanalyst Dr. Ernst Bernhard in early 1960, he read Jung's autobiography, Memories, Dreams, Reflections (1963) and experimented with LSD. [38] Bernhard also recommended that Fellini consult the I Ching and keep a record of his dreams. What Fellini formerly accepted as "his extrasensory perceptions"[39] were now interpreted as psychic manifestations of the unconscious.

Bernhard's focus on Jungian depth psychology proved to be the single greatest influence on Fellini's mature style and marked the turning point in his work from neorealism to filmmaking that was "primarily oneiric". [40] As a consequence, Jung's seminal ideas on the anima and the animus, the role of archetypes and the collective unconscious directly influenced such films as 8 12 (1963), Juliet of the Spirits (1965), Fellini Satyricon (1969), Casanova (1976), and City of Women (1980). [41] Other key influences on his work include Luis Buñuel.

[a] Charlie Chaplin, [b] Sergei Eisenstein, [c] Buster Keaton, [42] Laurel and Hardy, [42] the Marx Brothers, [42] and Roberto Rossellini. [d] Exploiting La Dolce Vitas success, financier Angelo Rizzoli set up Federiz in 1960, an independent film company, for Fellini and production manager Clemente Fracassi to discover and produce new talent. Despite the best intentions, their overcautious editorial and business skills forced the company to close down soon after cancelling Pasolinis project, Accattone (1961). [43] Condemned as a "public sinner", [44] for La Dolce Vita, Fellini responded with The Temptations of Doctor Antonio, a segment in the omnibus Boccaccio'70.

His second colour film, it was the sole project green-lighted at Federiz. Infused with the surrealistic satire that characterized the young Fellini's work at MarcAurelio, the film ridiculed a crusader against vice, interpreted by Peppino De Filippo, who goes insane trying to censor a billboard of Anita Ekberg espousing the virtues of milk. [45] In an October 1960 letter to his colleague Brunello Rondi, Fellini first outlined his film ideas about a man suffering creative block: Well then - a guy a writer? Any kind of professional man?

Has to interrupt the usual rhythm of his life for two weeks because of a not-too-serious disease. Its a warning bell: something is blocking up his system. [46] Unclear about the script, its title, and his protagonist's profession, he scouted locations throughout Italy looking for the film, [47] in the hope of resolving his confusion. Flaiano suggested La bella confusione (literally The Beautiful Confusion) as the movie's title.

Under pressure from his producers, Fellini finally settled on 8 12, a self-referential title referring principally (but not exclusively)[48] to the number of films he had directed up to that time. Giving the order to start production in spring 1962, Fellini signed deals with his producer Rizzoli, fixed dates, had sets constructed, cast Mastroianni, Anouk Aimée, and Sandra Milo in lead roles, and did screen tests at the Scalera Studios in Rome. He hired cinematographer Gianni Di Venanzo, among key personnel. But apart from naming his hero Guido Anselmi, he still couldn't decide what his character did for a living. [49] The crisis came to a head in April when, sitting in his Cinecittà office, he began a letter to Rizzoli confessing he had "lost his film" and had to abandon the project.

Interrupted by the chief machinist requesting he celebrate the launch of 8 12, Fellini put aside the letter and went on the set. Raising a toast to the crew, he felt overwhelmed by shame I was in a no exit situation. I was a director who wanted to make a film he no longer remembers. And lo and behold, at that very moment everything fell into place. I got straight to the heart of the film.

I would narrate everything that had been happening to me. I would make a film telling the story of a director who no longer knows what film he wanted to make.

[50] The self-mirroring structure makes the entire film inseparable from its reflecting construction. Shooting began on 9 May 1962. Perplexed by the seemingly chaotic, incessant improvisation on the set, Deena Boyer, the director's American press officer at the time, asked for a rationale.

Fellini told her that he hoped to convey the three levels "on which our minds live: the past, the present, and the conditional - the realm of fantasy". [51] After shooting wrapped on 14 October, Nino Rota composed various circus marches and fanfares that would later become signature tunes of the maestro's cinema. [52] Nominated for four Oscars, 8 12 won awards for best foreign language film and best costume design in black-and-white. In California for the ceremony, Fellini toured Disneyland with Walt Disney the day after.

Increasingly attracted to parapsychology, Fellini met the Turin magician Gustavo Rol in 1963. Rol, a former banker, introduced him to the world of Spiritism and séances. In 1964, Fellini took LSD[53] under the supervision of Emilio Servadio, his psychoanalyst during the 1954 production of La Strada.

[54] For years reserved about what actually occurred that Sunday afternoon, he admitted in 1992 that objects and their functions no longer had any significance. All I perceived was perception itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment. I was an instrument in a virtual world that constantly renewed its own meaningless image in a living world that was itself perceived outside of nature. And since the appearance of things was no longer definitive but limitless, this paradisiacal awareness freed me from the reality external to my self. The fire and the rose, as it were, became one.

[55] Fellini's hallucinatory insights were given full flower in his first colour feature Juliet of the Spirits (1965), depicting Giulietta Masina as Juliet, a housewife who rightly suspects her husband's infidelity and succumbs to the voices of spirits summoned during a séance at her home. Her sexually voracious next door neighbor Suzy (Sandra Milo) introduces Juliet to a world of uninhibited sensuality but Juliet is haunted by childhood memories of her Catholic guilt and a teenaged friend who committed suicide. Complex and filled with psychological symbolism, the film is set to a jaunty score by Nino Rota. Nostalgia, sexuality, and politics (19701980)[edit] Fellini & Bruno Zanin on the set of Amarcord in 1973 To help promote Satyricon in the United States, Fellini flew to Los Angeles in January 1970 for interviews with Dick Cavett and David Frost. He also met with film director Paul Mazursky who wanted to star him alongside Donald Sutherland in his new film, Alex in Wonderland.

[56] In February, Fellini scouted locations in Paris for The Clowns, a docufiction both for cinema and television, based on his childhood memories of the circus and a coherent theory of clowning. "[57] As he saw it, the clown "was always the caricature of a well-established, ordered, peaceful society.

But today all is temporary, disordered, grotesque. Who can still laugh at clowns? All the world plays a clown now. [58] In March 1971, Fellini began production on Roma, a seemingly random collection of episodes informed by the director's memories and impressions of Rome. The "diverse sequences, " writes Fellini scholar Peter Bondanella, are held together only by the fact that they all ultimately originate from the directors fertile imagination.

[59] The film's opening scene anticipates Amarcord while its most surreal sequence involves an ecclesiastical fashion show in which nuns and priests roller skate past shipwrecks of cobwebbed skeletons. Over a period of six months between January and June 1973, Fellini shot the Oscar-winning Amarcord.

Loosely based on the director's 1968 autobiographical essay My Rimini, [60] the film depicts the adolescent Titta and his friends working out their sexual frustrations against the religious and Fascist backdrop of a provincial town in Italy during the 1930s. Produced by Franco Cristaldi, the seriocomic movie became Fellini's second biggest commercial success after La Dolce Vita. [61] Circular in form, Amarcord avoids plot and linear narrative in a way similar to The Clowns and Roma.

It should be more like a poem with metre and cadence. [63] Late films and projects (19811990)[edit] Italian President Sandro Pertini receiving a David di Donatello Award from Fellini in 1985 Organized by his publisher Diogenes Verlag in 1982, the first major exhibition of 63 drawings by Fellini was held in Paris, Brussels, and the Pierre Matisse Gallery in New York.

[64] A gifted caricaturist, he found much of the inspiration for his sketches from his own dreams while the films-in-progress both originated from and stimulated drawings for characters, decor, costumes and set designs. Under the title, I disegni di Fellini (Fellini's Designs), he published 350 drawings executed in pencil, watercolours, and felt pens. [65] On 6 September 1985 Fellini was awarded the Golden Lion for lifetime achievement at the 42nd Venice Film Festival.

That same year, he became the first non-American to receive the Film Society of Lincoln Centers annual award for cinematic achievement. [3] Fellini rewards Marcello Mastroianni with the Golden Lion Honorary Award at the 47th Venice International Film Festival Long fascinated by Carlos Castanedas The Teachings of Don Juan: A Yaqui Way of Knowledge, Fellini accompanied the Peruvian author on a journey to the Yucatán to assess the feasibility of a film.

After first meeting Castaneda in Rome in October 1984, Fellini drafted a treatment with Pinelli titled Viaggio a Tulun. [66] When Castaneda inexplicably disappeared and the project fell through, Fellini's mystico-shamanic adventures were scripted with Pinelli and serialized in Corriere della Sera in May 1986.

A barely veiled satirical interpretation of Castaneda's work, [67] Viaggio a Tulun was published in 1989 as a graphic novel with artwork by Milo Manara and as Trip to Tulum in America in 1990. For Intervista, produced by Ibrahim Moussa and RAI Television, Fellini intercut memories of the first time he visited Cinecittà in 1939 with present-day footage of himself at work on a screen adaptation of Franz Kafkas Amerika. A meditation on the nature of memory and film production, it won the special 40th Anniversary Prize at Cannes and the 15th Moscow International Film Festival Golden Prize. In Brussels later that year, a panel of thirty professionals from eighteen European countries named Fellini the worlds best director and 8 12 the best European film of all time.

[68] In early 1989 Fellini began production on The Voice of the Moon, based on Ermanno Cavazzonis novel, Il poema dei lunatici (The Lunatics' Poem). A small town was built at Empire Studios on the via Pontina outside Rome. Starring Roberto Benigni as Ivo Salvini, a madcap poetic figure newly released from a mental institution, the character is a combination of La Strada's Gelsomina, Pinocchio, and Italian poet Giacomo Leopardi. [69] Fellini improvised as he filmed, using as a guide a rough treatment written with Pinelli. [70] Despite its modest critical and commercial success in Italy, and its warm reception by French critics, it failed to interest North American distributors.

[71] Fellini won the Praemium Imperiale, an international prize in the visual arts given by the Japan Art Association in 1990. [72] Final years (19911993)[edit] In July 1991 and April 1992, Fellini worked in close collaboration with Canadian filmmaker Damian Pettigrew to establish "the longest and most detailed conversations ever recorded on film".

[73] Described as the Maestro's spiritual testament by his biographer Tullio Kezich, [74] excerpts culled from the conversations later served as the basis of their feature documentary, Fellini: I'm a Born Liar (2002) and the book, I'm a Born Liar: A Fellini Lexicon. Finding it increasingly difficult to secure financing for feature films, Fellini developed a suite of television projects whose titles reflect their subjects: Attore, Napoli, LInferno, L'opera lirica, and LAmerica. [citation needed] In April 1993 Fellini received his fifth Oscar, for lifetime achievement, "in recognition of his cinematic accomplishments that have thrilled and entertained audiences worldwide". On 16 June, he entered the Cantonal Hospital in Zürich for an angioplasty on his femoral artery[75] but suffered a stroke at the Grand Hotel in Rimini two months later.

Partially paralyzed, he was first transferred to Ferrara for rehabilitation and then to the Policlinico Umberto I in Rome to be near his wife, also hospitalized. He suffered a second stroke and fell into an irreversible coma. [76] Death[edit] Fellini died in Rome on 31 October 1993 at the age of 73 after a heart attack he suffered a few weeks earlier, [77] a day after his 50th wedding anniversary. The memorial service, in Studio 5 at Cinecittà, was attended by an estimated 70,000 people. [78] At Giulietta Masina's request, trumpeter Mauro Maur played Nino Rota's "Improvviso dell'Angelo" during the ceremony.

[79] Five months later, on 23 March 1994, Masina died of lung cancer. Fellini, Masina and their son, Pierfederico, are buried in a bronze sepulchre sculpted by Arnaldo Pomodoro. The Federico Fellini Airport in Rimini is named in his honour.

Religious views[edit] Fellini was raised in a Roman Catholic family and considered himself a Catholic, but avoided formal activity in the Catholic Church. Fellini's films include Catholic themes; some celebrate Catholic teachings, while others criticize or ridicule church dogma. [80] Political views[edit] While Fellini was for the most part indifferent to politics, [81] he had a general dislike of authoritarian institutions, and is interpreted by Bondanella as believing in "the dignity and even the nobility of the individual human being". [82] In a 1966 interview, he said, I make it a point to see if certain ideologies or political attitudes threaten the private freedom of the individual.

[83] Despite various famous Italian actors favouring the Communists, Fellini was not left-wing. It is rumored that he supported Christian Democracy (DC).

[84] Bondanella writes that DC "was far too aligned with an extremely conservative and even reactionary pre-Vatican II church to suit Fellini's tastes", [82] but Fellini opposed the'68 Movement and befriended Giulio Andreotti. [85] Apart from satirizing Silvio Berlusconi and mainstream television in Ginger and Fred, [86] Fellini rarely expressed political views in public and never directed an overtly political film. He directed two electoral television spots during the 1990s: one for DC and another for the Italian Republican Party (PRI). [87] His slogan "Non si interrompe un'emozione" (Don't interrupt an emotion) was directed against the excessive use of TV advertisements.

The Democratic Party of the Left also used the slogan in the referendums of 1995. [88] Influence and legacy[edit] Dedicatory plaque to Fellini on Via Veneto, Rome: To Federico Fellini, who made Via Veneto the stage for the "Sweet Life" - SPQR January 20, 1995 Personal and highly idiosyncratic visions of society, Fellini's films are a unique combination of memory, dreams, fantasy and desire. The adjectives "Fellinian" and "Felliniesque" are "synonymous with any kind of extravagant, fanciful, even baroque image in the cinema and in art in general". [10] La Dolce Vita contributed the term paparazzi to the English language, derived from Paparazzo, the photographer friend of journalist Marcello Rubini (Marcello Mastroianni).

[89] Contemporary filmmakers such as Tim Burton, [90] Terry Gilliam, [91] Emir Kusturica, [92] and David Lynch[93] have cited Fellini's influence on their work. Polish director Wojciech Has, whose two best-received films, The Saragossa Manuscript (1965) and The Hour-Glass Sanatorium (1973), are examples of modernist fantasies, has been compared to Fellini for the sheer "luxuriance of his images". [94] I Vitelloni inspired European directors Juan Antonio Bardem, Marco Ferreri, and Lina Wertmüller and influenced Martin Scorsese's Mean Streets (1973), George Lucas's American Graffiti (1974), Joel Schumacher's St. Elmo's Fire (1985), and Barry Levinson's Diner (1982), among many others.

[95] When the American magazine Cinema asked Stanley Kubrick in 1963 to name his ten favorite films, he ranked I Vitelloni number one. [96] Nights of Cabiria was adapted as the Broadway musical Sweet Charity and the movie Sweet Charity (1969) by Bob Fosse starring Shirley MacLaine. City of Women was adapted for the Berlin stage by Frank Castorf in 1992. [97] 8 12 inspired, among others, Mickey One (Arthur Penn, 1965), Alex in Wonderland (Paul Mazursky, 1970), Beware of a Holy Whore (Rainer Werner Fassbinder, 1971), Day for Night (François Truffaut, 1973), All That Jazz (Bob Fosse, 1979), Stardust Memories (Woody Allen, 1980), Sogni d'oro (Nanni Moretti, 1981), Parad Planet (Vadim Abdrashitov, 1984), La Pelicula del rey (Carlos Sorin, 1986), Living in Oblivion (Tom DiCillo, 1995), 8 12 Women (Peter Greenaway, 1999), Falling Down (Joel Schumacher, 1993), and the Broadway musical Nine (Maury Yeston and Arthur Kopit, 1982). (1998), a Spanish novel by Puerto Rican writer Giannina Braschi, features a dream sequence with Fellini inspired by 8 12.

[99] Fellini's work is referenced on the albums Fellini Days (2001) by Fish, Another Side of Bob Dylan (1964) by Bob Dylan with Motorpsycho Nitemare, Funplex (2008) by the B-52's with the song Juliet of the Spirits, and in the opening traffic jam of the music video Everybody Hurts by R. [100] American singer Lana Del Rey has cited Fellini as an influence. [101] His work influenced the American TV shows Northern Exposure and Third Rock from the Sun.

[102] Wes Anderson's short film Castello Cavalcanti (2013) is in many places a direct homage to Fellini. [103] Various film-related material and personal papers of Fellini are in the Wesleyan University Cinema Archives, to which scholars and media experts have full access. [104] In October 2009, the Jeu de Paume in Paris opened an exhibit devoted to Fellini that included ephemera, television interviews, behind-the-scenes photographs, Book of Dreams (based on 30 years of the director's illustrated dreams and notes), along with excerpts from La dolce vita and 8 12. [105] In 2015, the Blue Devils Drum and Bugle Corps of Concord, California, performed "Felliniesque", a show themed around Fellini's work, with which they won a record 16th Drum Corps International World Class championship with a record score of 99.650.

[106] That same year, the weekly entertainment-trade magazine Variety announced that French director Sylvain Chomet was moving forward with The Thousand Miles, a project based on various Fellini works and first developed with Demian Gregory and Tommaso Rossellini, including his unpublished drawings and writings. (60') Federico Fellini - un autoritratto ritrovato (2000). (RAI TV, 68') Fellini: I'm a Born Liar (2002).

(Arte, Eurimages, Scottish Screen, 102') How Strange to Be Named Federico (2013). City of Women (Italian: La città delle donne) is a 1980 Italian fantasy comedy-drama film written and directed by Federico Fellini.

[2] Amid Fellini's characteristic combination of dreamlike, outrageous, and artistic imagery, Marcello Mastroianni plays Snàporaz, a man who voyages through male and female spaces toward a confrontation with his own attitudes toward women and his wife. Contents 1 Plot 2 Cast 3 Critical reception 4 References 5 External links Plot[edit] Snàporaz wakes up during a train ride and has a brief fling with a woman in the bathroom, but it's cut short when the train suddenly stops and the woman gets off. Snàporaz follows her into the woods, through a wilderness and into a Grand Hotel overrun with women in attendance for a surrealistic feminist convention. He winds up in a conference about polyandry, where his presence is rejected. A frightened Snàporaz retreats to the hotel lobby, but the exit is blocked; instead he seeks refuge inside an elevator with a girl, Donatella, who offers her assistance.

Donatella leads Snàporaz into a gymnasium and forces him to don roller skates. He is yet again cornered and berated by a group of angry women who circle around him in roller skates and practice testicle-kicking with a dummy.

Dazed, Snàporaz makes his exit down a flight of stairs, falling down and hurting himself, and into the domain of a burly woman tending to the hotel's furnace. The woman offers him a ride to the train station on her motorcycle, but she stops by a farm and lures Snàporaz into a nursery, where she tries to rape him. The rape is cut short by the woman's mother, who steps in to chastise her daughter. Snàporaz escapes and follows a lonely woman through the countryside. He joins her and her girlfriends in a car ride on the promise of being delivered to the station, but the ride goes on well into the night, the women smoking marijuana and listening to Italo disco.

A frustrated Snàporaz ditches the women only to be harassed by others. He finally finds shelter at mansion of Dr. Xavier Katzone, who shoots at his persecutors.

Katzone promises to deliver Snàporaz to the train station in the morning and invites him to stay for a party. Snàporaz walks around Katzone's extravagant home, which is filled with sexual imagery and phallic sculptures. He is also fascinated by a collection of photographs on the manor walls commemorating Katzone's sexual conquests; the photos light up and whisper arousing dialogue. Taking pride in his many inventions, Katzone celebrates his 10,000th conquest with an eccentric party that involves the blowing out of 10,000 candles and a performance by his wife, in which she sucks coins and pearls into her vagina by means of telekinesis. During the party, Snàporaz comes across his ex-wife, Elena, who has a drunken argument with him, and meets Donatella again. The police (composed solely of women dressed in Nazi attire) arrive, interrupting Katzone mid-song and announcing the imminent demolition of his house. They also inform him that they have shot his most beloved dog, Italo, which a grieving Katzone buries. Meanwhile, Snàporaz dances to a song by Fred Astaire with a scantily clad Donatella and a friend of hers, but he fails to sleep with either of them, instead getting stuck in bed with his ex-wife. Hearing strange noises, he crawls under the bed, entering another dream-like world in which he slides down a toboggan, revisiting his childhood crushes (a sitter, a nurse, a prostitute) along the way. Caged at the end of the slide, he is transported before a strange court and judged for his masculinity. Dismissed and set free, he climbs into a towering boxing ring before a female crowd. At the top of the ring he boards a hot air balloon in the form of Donatella. Donatella herself fires at him from below with a machine-gun, bursting the balloon and sending Snàporaz plummeting. Snàporaz wakes up on the very same train from the beginning of the film, indicating the entire story has been a mere nightmare. Just as he comes to this conclusion, he realizes his glasses are broken (as in his dream) and that the wagon is filled by the women that crowded his dream. The train races into a tunnel as the film ends.

Cast[edit] Marcello Mastroianni as Snàporaz Anna Prucnal as Elena Bernice Stegers as Woman on train Donatella Damiani as Donatella (Woman on roller skates) Iole Silvani as Motorcyclist Ettore Manni as Dr. Xavier Katzone Fiammetta Baralla as Onlio Hélène G. Calzarelli as Feminist Isabelle Canto de Maya Catherine Carrel as Commandant Stéphane Emilfork as Feminist Marcello Di Falco as Slave Silvana Fusacchia as Skater Gabriella Giorgelli as Fishwoman of San Leo Sylvie Meyer as Feminist Dominique Labourier as Feminist Marina Confalone as Feminist Marina Hedman as Girl of'Giro della Morte' Critical reception[edit] Italy and France City of Women opened in eighty Italian theaters in March 1980[3] and received generally favorable reviews bordering "on respect rather than praise". [3] Corriere della Sera critic Giovanni Grazzini interpreted the film as a catalogue of emotions, sometimes grotesque, sometimes farcical, which provides a few caustic jibes against the destruction of femininity by aggressive feminism...

From a stylistic point of view, it's less homogeneous than usual but other parts of the film are delightful. For instance, when fantasy is used to create types of people rather than caricatures. In this sense Fellini, having abandoned his gallery of monsters, becomes more prosaic.

Or when the ambiguity of certain characters - an excellent example is the soubrette played by the charming Donatella Damiani - provides a touch of grace and bitchiness; or when the film becomes almost a musical; or when paradox becomes surrealist, such as the party and the hurricane at the villa of Katzone who's in despair because his favourite dog has died. [4] "Fellini appears as the Madame Bovary of his adolescence", wrote Claudio G. He revels in the enjoyment he feels at working with an experienced crew, side by side with faithful technicians who simulate trains on the move or the sea washing the shores of the inevitable Romagnol beaches as though they were working of the set of George Méliès. But then, again and again, Fellini has shown us that he is the greatest and most ingenious of Méliès' heirs. Only the magic does not always work, especially in the attempt to create a kind of astonished confession of amused impotence when faced with the new woman of today, together with a feeling of nostalgia for the old woman of the past... Despite Fellini's extraordinary virtuosity, the film rarely achieves harmony of inspiration, of order, of strip-cartoon fantasy, or of irony.

"[5] Francesco Bolzoni of L'Avvenire insisted that Fellini was "only playing games. But then we would hardly expect from Fellini a deep analysis of the nature of women... It is a game with occasional gaps and, more often, inventions that rejuvenate an all too familiar, all too hackneyed subject.

It is a film with a tragic vein that in the end proves to be light-hearted and occasionally amusing. [6] La Notte magazine's Giorgio Carbone felt the maestro had finally reached a splendid maturity that permits him to lavish his treasures upon us for the simple pleasure of doing so. Behind the festival of images and colours we can feel his delight in making this film, a delight which, from the very first scene, becomes ours too, and it's something we haven't felt in a long time... If the film lacks suspense in its story (we care little what happens to Snàporaz or Katzone because we know that sooner or later Rimini and those bosomy extras will appear on the scene), there's suspense in the images and in the scenic inventions. [7] Screened out of competition on 19 May 1980 at the 33rd Cannes Film Festival, [8] the film was badly received by the majority of French critics, some of whom offered review titles such as "Zero for Fellini", "A Tiring Deception", "A Disaster", as well as "A Mountain of Tedious Pretension". [3] Russian film director Andrei Tarkovsky, in Rome that year for the pre-production of Nostalghia, noted in his diary that City of Women was a fiasco: At the Cannes Festival the papers said that Fellini's last film was a total disaster, and that he himself had ceased to exist.

It's terrible, but it's true, his film is worthless. [9] United States Released by New Yorker Films in the United States on 8 April 1981, the film garnered generally favorable reviews but little box-office success. [10] Daniel Talbot of New Yorker Films offered an explanation for the public's lack of interest: Here, it played in less than fifty theatres, and of those, six provided 75 percent of the earnings.

I don't know what Gaumont or Fellini could have expected with that kind of personal film. He had lost most of his audience here by then.

Which isn't to say that I don't think him one of the great filmmakers of the world. "[10] For Vincent Canby of The New York Times, however, the film was a success: "Though the film is overlong, even for a Fellini aficionado, it is spell-binding, a dazzling visual display that is part burlesque, part satire, part Folies-Bergère, and all cinema. As Snàporaz is haunted by the phantoms of all the women he has known, or wanted to know, from childhood on, Mr Fellini in City of Women is obsessed by his own feelings toward women, by his need for them, his treatment (mostly poor) of them, his continued fascination by them and his awareness that (thank heavens) they'll always be different... Though City of Women is about a libertine, it's anything but licentious.

Mr Fellini's licentiousness suggests a profound longing for some kind of protective discipline, if not complete chastity. As such discipline would destroy Snàporaz, it would make impossible the conception and production of a film as wonderfully uninhibited as City of Women. "[11] John Gould Boyum of The Wall Street Journal observed that "the film's entire thrust has little or nothing to do with the striking of attitudes, the analyzing of ideas. What Fellini seems after here is the recording and communicating of a set of feelings: those complex, contradictory ones experienced by a middle-aged Italian male suddenly faced with a cataclysmic upheaval in social and sexual mores...

We do not go to Fellini to immerse ourselves in story and character or to encounter ideas. What we want from the maestro and what he gives us are fabulous adventures in feeling - a decidedly original mixture of nostalgia, poignancy, and joy that is unmistakably Fellini's own. [12] If there is one central image in the work of Federico Fellini, it's of Fellini's autobiographical hero being smothered by women. They come in all shapes and ages, from old crones to young innocents, from heavy-breasted mother figures to seductive nymphs.

One of Fellini's favorite strategies is to gather all the women into one fantasy and place his hero at the center of it. That's what he did in the celebrated harem sequence in "8 1/2, " and that's what he does throughout City of Women. There is, however, an additional twist this time.

Since the basic Fellini universe was created in La Strada, La Dolce Vita, 8 1/2, and Juliet of the Spirits (1965), beliefs about the role of women have undergone a revolution, even in Italy. It is no longer enough that Fellini deal with the ways women tantalize, dominate, and possess his male heroes.

Now he must also deal with the women themselves. For Fellini, this is probably not nearly so much fun. His idea of a liberated woman is fairly clear from the wife-character in 8 1/2 (1963). She is severe, wears tailored suits and horn-rim glasses, and wants to spoil all the fun. Fellini's hero, in that film and in City of Women, is named Guido, is played by Marcello Mastroianni, and wants to escape from the horn-rim types and lose himself in the capacious bosom of a thoroughly undemanding sex object.

At the beginning of City of Women, however, Guido finds himself riding on a train across from a severe-looking woman in a tailored suit. He tries to seduce her. She sentences him to an imaginary odyssey through a series of sexual fantasies, most of them devoted to the unpleasant fates of men who do not have the correct attitude about women. Most of these fantasies, and indeed many of the specific images, are familiar to anyone who has seen several Fellini films.

There is a long circus chute for Mastroianni to tumble down (Juliet), and a group of circus scenes (from half his other films), and a wall covered with portraits remember Fellinis Roma? , and an insatiable satyr, and, of course, the full-lipped, full-bosomed, smiling, and inexhaustible temptress who turns up, in one manifestation or another, throughout Fellini.

City of Women does nothing original or very challenging with this material. Although it pretends to be Fellini's film about feminism, it reveals no great understanding of the subject; Fellini basically sees feminists as shrill harems of whip-wielding harridans, forever dangling the carrot of sex just out of reach of his suffering hero.

Fellini has rarely been able to discover human beings hidden inside his female characters, and it's a little late for him to start blaming that on the women's liberation movement. Is City of Women worth seeing? Yes, probably, even though it is not a successful movie and certainly not up to Fellini's best work. It's worth seeing because it's a bedazzling collection of images, because at times it's a graceful and fluid celebration of pure filmmaking skill, and because Fellini can certainly make a bad film but cannot quite make a boring one. Marcello Vincenzo Domenico Mastroianni (Italian pronunciation: [martllo mastrojanni]; 28 September 1924 19 December 1996) was an Italian film actor, regarded as his country's biggest film star of all time.

His films include: La Dolce Vita; 8½; La Notte; Divorce Italian Style; Yesterday, Today and Tomorrow; Marriage Italian Style; The 10th Victim; A Special Day; City of Women; Henry IV; Dark Eyes and Everybody's Fine. His honours included BAFTAs, Best Actor awards at the Venice and Cannes film festivals, two Golden Globes and three Oscar nominations.

Contents 1 Early life 2 Career 3 Personal life 4 Death 5 Awards and recognition 5.1 Wins 5.2 Nominations 6 Filmography and awards 7 References 8 Further reading 9 External links Early life[edit] Mastroianni was born in Fontana Liri, a small village in the Apennines in the province of Frosinone, Lazio, and grew up in Turin and Rome. He was the son of Ida (née Irolle) and Ottone Mastroianni. Both of his parents were from the nearby town of Arpino. [1] His father ran a carpentry shop. [2] Mastroianni was a nephew of sculptor Umberto Mastroianni.

[3] During World War II, after the division into Axis and Allied Italy, he was interned in a loosely guarded German prison camp, from which he escaped to hide in Venice. [4] His brother Ruggero Mastroianni was a film editor who worked on some of Marcello's films (City of Women, Ginger and Fred), [5] and appeared alongside Marcello in Scipione detto anche l'Africano, a spoof of the once popular sword and sandal (peplum) film genre released in 1971.

[6] Career[edit] Mastroianni in 1954 Mastroianni made his screen debut as an uncredited extra in Marionette (1939) when he was fourteen, [7] and made intermittent minor film appearances until landing his first big role in Atto d'accusa (1951). [8] Within a decade he became a major international celebrity, starring in Big Deal on Madonna Street (1958);[9] and in Federico Fellini's La Dolce Vita (1960) playing a disillusioned and self-loathing tabloid columnist who spends his days and nights exploring Rome's decadent high society. [10] Mastroianni followed La Dolce Vita with another signature role, that of a film director who, amidst self-doubt and troubled love affairs, finds himself in a creative block while making a film in Fellini's 8½ (1963). [11] His other prominent films include Days of Love (1954) with Marina Vlady; La Notte (1961) with Jeanne Moreau; Too Bad She's Bad (1954), Lucky to Be a Woman (1956), Yesterday, Today and Tomorrow (1963), Marriage Italian Style (1964), Sunflower (1970), The Priest's Wife (1971), A Special Day (1977) and Robert Altman's Prêt-à-Porter (1994) all co-starring Sophia Loren; Luchino Visconti's White Nights (1957); Pietro Germi's Divorce Italian Style (1961); Family Diary (1962) with Jacques Perrin; A Very Private Affair (1962) with Brigitte Bardot; Mario Monicelli's Casanova 70 (1965); Diamonds for Breakfast (1968) with Rita Tushingham; The Pizza Triangle (1970) with Monica Vitti; Massacre in Rome (1973) with Richard Burton; The Sunday Woman (1975) with Jacqueline Bisset; Stay As You Are (1978) with Nastassja Kinski; Fellini's City of Women (1980) and Ginger and Fred (1986); Marco Bellocchio's Henry IV (1984); Macaroni (1985) with Jack Lemmon; Nikita Mikhalkov's Dark Eyes (1987) with Marthe Keller; Giuseppe Tornatore's Everybody's Fine (1990); Used People (1992) with Shirley MacLaine; and Agnès Varda's One Hundred and One Nights (1995).

He was nominated for the Academy Award for Best Actor three times: for Divorce Italian Style, A Special Day and Dark Eyes. [12] Mastroianni, Dean Stockwell and Jack Lemmon are the only actors to have been twice awarded the Best Actor at the Cannes Film Festival. [13] Mastroianni won it in 1970 for The Pizza Triangle and in 1987 for Dark Eyes. [14] Mastroianni starred alongside his daughter, Chiara Mastroianni, in Raúl Ruiz's Three Lives and Only One Death in 1996.

[15] For this performance he won the Silver Wave Award at the Ft. His final film, Voyage to the Beginning of the World (1997), was released posthumously. [16] Personal life[edit] Mastroianni married Flora Carabella (19261999) on 12 August 1950. [17] They had one daughter together, Barbara (19512018), [18] but eventually separated because of his affairs with younger women. [17][19] Mastroianni's first serious relationship after the separation was with Faye Dunaway, his co-star in A Place for Lovers (1968). Dunaway wanted to marry and have children, but Mastroianni, a Catholic, refused to divorce Carabella. [17] In 1970, after more than two years of waiting for Mastroianni to change his mind, Dunaway left him. [17] Mastroianni told a reporter for People magazine in 1987 that he never got over his relationship with Dunaway.

"She was the woman I loved the most", he said. I'll always be sorry to have lost her. I was whole with her for the first time in my life. [20] Mastroianni had a daughter, Chiara Mastroianni (born 28 May 1972), with French actress Catherine Deneuve, who was nearly 20 years his junior and lived with him for four years in the 1970s.

During that time, the couple made four films together: It Only Happens to Others (1971), La cagna (1972), A Slightly Pregnant Man (1973) and Don't Touch the White Woman! After Mastroianni and Deneuve broke up, Carabella reportedly offered to adopt Chiara because her parents' work kept them away so often. Deneuve would have none of it. [21] Mastroianni's other lovers reportedly included actresses Anouk Aimée, Ursula Andress, Claudia Cardinale, Carole Mallory and Lauren Hutton. [17] Around 1976, he became involved with Anna Maria Tatò, an author and filmmaker. They remained together until his death. [17] He was made a Knight Grand Cross of the Order of Merit of the Italian Republic in 1994. [22] Death[edit] Mastroianni in 1991 Mastroianni died of pancreatic cancer on 19 December 1996 at the age of 72. [23][24] Both of his daughters, as well as Deneuve and Tatò, were at his bedside.

[17] The Trevi Fountain in Rome, associated with his role in Fellini's La Dolce Vita, was symbolically turned off and draped in black as a tribute. [24][25] At the 1997 Venice Film Festival, Chiara, Carabella and Deneuve tried to block the screening of Tatò's four-hour documentary, Marcello Mastroianni: I Remember. [26] The festival refused and the film was shown. [26] The three women reportedly tried to do the same thing at Cannes. [26] Tatò said Mastroianni had willed her all rights to his image.

[26] Awards and recognition[edit] Mastroianni (right) and Federico Fellini in 1990 Wins[edit] David di Donatello Best Actor 1964 Yesterday, Today and Tomorrow 1965 Marriage Italian Style 1986 Ginger and Fred 1988 Dark Eyes 1995 Sostiene Pereira 1983 Carrer David 1995 Special David 1997 Carrer David (posthumous) Nastro d'Argento Best Actor 1955 Days of Love 1958 White Nights 1961 La Dolce Vita 1962 Divorce Italian Style 1986 Ginger and Fred 1988 Dark Eyes 1991 Towards Evening 1997 Special Nastro d'Argento (posthumous) Venice Film Festival Golden Lion 1990 Honorary Award Best Actor 1989 What Time Is It? Best Supporting Actor 1993 1, 2, 3, Sun Cannes Film Festival Best Actor 1970 The Pizza Triangle 1988 Dark Eyes BAFTA Award Best Foreign Actor 1963 Divorce Italian Style 1964 Yesterday, Today and Tomorrow Golden Globe Award Golden Globe Award for Best Actor Motion Picture Musical or Comedy 1962 Divorce Italian Style César Award 1993 Honorary César Nominations[edit] Academy Award Academy Award for Best Actor 1962 Divorce Italian Style 1977 A Special Day 1987 Dark Eyes Filmography and awards[edit] Year Title Role Notes 1939 Marionette Extra Uncredited 1942 Una storia d'amore Extra 1944 I bambini ci guardano Extra Uncredited 1948 I Miserabili Revolution member Uncredited 1949 Vertigine d'amore Vent'anni 1950 Domenica d'agosto Ercole Nardi Contro la legge Marcello Curti Vita da cani Carlo Danesi Atto d'accusa Renato La Torre Cuori sul mare Massimo Falchetti 1951 Passaporto per l'oriente Aldo Mazzetti Parigi è sempre Parigi Marcello Venturi 1952 Le ragazze di Piazza di Spagna Marcello Sartori L'eterna catena Walter Ronchi Tragico ritorno Marco Sensualità Carlo Santori Penne nere Pietro Cossuti Gli eroi della domenica Carlo Vagnetti La muta di Portici Extra Uncredited 1953 Lulù Soletti Il viale della speranza Mario Non è mai troppo tardi Riccardo Febbre di vivere Daniele Massa La valigia dei sogni 1954 Cronache di poveri amanti Ugo Tempi nostri Il marito di Maria (segment "Pupo, Il") Schiava del peccato Giulio Franchi Giorni d'amore Pasquale Droppio Nastro d'Argento for Best Actor Casa Ricordi Gaetano Donizetti Peccato che sia una canaglia Paolo Grolla d'Oro for Best Actor La principessa delle Canarie Hernán 1955 Tam tam mayumbe Alessandrini La bella mugnaia Luca 1956 La fortuna di essere donna Corrado Betti NominatedNastro d'Argento for Best Actor The Bigamist Mario De Santis 1957 Padri e figli Cesare La ragazza della salina Piero Il momento più bello Pietro Valeri Le notti bianche Mario Nastro d'Argento for Best Actor Il medico e lo stregone Dr. Francesco Marchetti 1958 Un ettaro di cielo Severino Balestra I soliti ignoti Tiberio Racconti d'estate Marcello Mazzoni NominatedNastro d'Argento for Best Actor Amore e guai Franco 1959 La Loi Enrico Tosso Il nemico di mia moglie Marco Tornabuoni Everyone's in Love Giovanni Ferdinando I, re di Napoli Gennarino 1960 La Dolce Vita Marcello Rubini Nastro d'Argento for Best Actor Il bell'Antonio Antonio Magnano NominatedNastro d'Argento for Best Actor Adua and Friends Piero Salvagni 1961 La notte Giovanni Pontano L'assassino Alfredo Martelli Fantasmi a Roma Reginaldo di Roviano / Federico di Roviano / Gino Divorzio all'italiana Ferdinando (Fefè) Cefalù Golden Globe Award for Best Actor Motion Picture Musical or Comedy BAFTA Award for Best Actor in a Leading Role Nastro d'Argento for Best Actor NominatedAcademy Award for Best Actor 1962 Vita privata Fabio Rinaldi Cronaca familiare Enrico NominatedNastro d'Argento for Best Actor 1963 8½ Guido Anselmi NominatedNastro d'Argento for Best Actor I compagni Prof. Sinigaglia Ieri, oggi, domani Carmine Sbaratti BAFTA Award for Best Actor in a Leading Role David di Donatello for Best Actor 1964 Matrimonio all'italiana Domenico Soriano David di Donatello for Best Actor Golden Globe Henrietta Award World Film Favorite Actor NominatedGolden Globe Award for Best Actor Motion Picture Musical or Comedy NominatedNastro d'Argento for Best Actor 1965 Casanova 70 Maggiore Colombetti San Sebastián International Film FestivalBest Actor La decima vittima Marcello Poletti NominatedNastro d'Argento for Best Actor Oggi, domani e dopodomani Mario / Michele Profili / Mario Gasparri (segment "L'uomo dei 5 palloni") / (segment "L'ora di punta") / (segment "La moglie bionda") 1966 Io, io, io... E gli altri Peppino Marassi NominatedGolden Globe Henrietta Award World Film Favorite Actor The Poppy Is Also a Flower Inspector Mosca Shoot Loud, Louder...

I Don't Understand Alberto Saporito 1967 Lo straniero Arthur Meursault Questi fantasmi The Ghost Uncredited 1968 Break Up Mario Fuggetta Amanti Valerio Diamonds for Breakfast Grand Duke Nikolay Vladimirovich Godunov 1970 The Pizza Triangle Oreste Nardi Cannes Film Festival Award for Best Actor NominatedNastro d'Argento for Best Actor I girasoli Antonio Leo the Last Leo Giochi particolari Sandro The Priest's Wife Don Mario 1971 Scipio the African Scipione l'Africano Ça n'arrive qu'aux autres Marcello Permette? Rocco Papaleo Rocco Papaleo 1972 Correva l'anno di grazia 1870 Augusto Parenti TV movie La cagna Giorgio What? Alex Roma Himself Uncredited 1973 Mordi e fuggi Giulio Borsi La Grande Bouffe Marcello Niente di grave: suo marito è incinto Marco Mazetti Rappresaglia Father Pietro Antonelli L'idolo della città Nicolas Montei 1974 Touche pas à la femme blanche George A. Custer Allonsanfàn Fulvio Imbriani We All Loved Each Other So Much Himself 1975 La pupa del gangster Charlie Colletto Per le antiche scale Professor Bonaccorsi Divina creatura Michele Barra La donna della domenica Commissioner Salvatore Santamaria Globo d'Oro Award for Best Actor 1976 Todo modo Don Gaetano Goodnight, Ladies and Gentlemen Paolo T. Fiume Lunatics and Lovers Marchese Luca Maria 1977 Una giornata particolare Gabriele Globo d'Oro Award for Best Actor Grolla d'oro for Best Actor NominatedAcademy Award for Best Actor NominatedGolden Globe Award for Best Actor - Motion Picture Drama Mogliamante Luigi De Angelis Doppio delitto Bruno Baldassarre 1978 Ciao maschio Luigi Nocello Così come sei Giulio Marengo Blood Feud Rosario Maria Spallone 1979 L'ingorgo Una storia impossibile Marco Montefoschi Giallo napoletano Raffaele Capece 1980 La terrazza Luigi La città delle donne Snàporaz 1981 Fantasma d'amore Nino Monti La pelle Curzio Malaparte 1982 La Nuit de Varennes Casanova, Chevalier de Seingalt NominatedNastro d'Argento for Best Actor Oltre la porta Enrico Sommi The Last Horror Film Himself Uncredited 1983 Storia di Piera Lorenzo Sant Jordi Award for Best Performance in a Foreign Film Gabriela, Cravo e Canela Nacib Il generale dell'armata morta General Ariosto 1984 Enrico IV Enrico IV Globo d'Oro Award for Best Actor 1985 Le due vite di Mattia Pascal Mattia Pascal Maccheroni Antonio Jasiello NominatedNastro d'Argento for Best Actor Big Deal After 20 Years Tiberio 1986 Ginger e Fred Pippo Botticella (Fred) David di Donatello for Best Actor Globo d'Oro Award for Best Actor Nastro d'Argento for Best Actor Sant Jordi Award for Best Performance in a Foreign Film O Melissokomos Spyros 1987 Oci ciornie Romano Cannes Film Festival Award for Best Actor David di Donatello for Best Actor Nastro d'Argento for Best Actor NominatedAcademy Award for Best Actor Intervista Himself 1988 Miss Arizona Rozsnyai Sándor 1989 Splendor Jordan Che ora è?

Marcello Venice Film Festival Volpi Cup NominatedNastro d'Argento for Best Actor 1990 Stanno tutti bene Matteo Scuro Verso sera Prof. Bruschi Globo d'Oro Award for Best Actor Nastro d'Argento for Best Actor Honorary Golden Lion 1991 To meteoro vima tou pelargou Missing Politician Le voleur d'enfants Bigua A Fine Romance Cesareo Grimaldi 1992 Used People Joe Meledandri NominatedGolden Globe Award for Best Actor - Motion Picture Musical or Comedy 1993 Di questo non si parla Ludovico D'Andrea Un, deux, trois, soleil Constantin Laspada, le père Venice Film Festival Volpi Cup for Best Actor in a Supporting Role 1994 Prêt-à-Porter Sergei (Sergio) National Board of Review Award for Best Acting by an Ensemble The True Life of Antonio H. The item "1980 Hebrew CITY OF WOMEN Original FELLINI FILM Theatre RARE POSTER Movie ISRAEL" is in sale since Saturday, September 18, 2021. This item is in the category "Collectibles\Religion & Spirituality\Judaism\Images". The seller is "judaica-bookstore" and is located in TEL AVIV. This item can be shipped worldwide.