![]() Now I consider Rome my private apartment. As soon as I came to Rome, I had the feeling that I was home. As Fellini explained to Lillian Ross, in 1965, in this magazine: The first word that we hear in “The White Sheik” (1952), his first film as a solo director, is “Roma.” It is uttered by a man at a train window, nearing his destination. Exhausted orgiasts, in “La Dolce Vita,” drift through pines and emerge onto a barren strand, where a monster of the deep, with viscid and accusing eyes, has been dragged ashore in a net.) Rimini’s other face is turned inland, toward the Eternal-and maternal-City, which beckons Fellini’s characters and gathers them to its bosom. (The bullying hero of “La Strada,” a circus strongman, winds up collapsing in tears on the sand. One face looks out to sea, and any Fellini fan will recall the beach scenes that litter his films. ![]() Many of them are warmed by the music of Nino Rota. ![]() The time and the place matter more than anything else, as we approach him now and try to make sense of the movies he bequeathed-crown jewels such as “La Dolce Vita” (1960) and “8 1/2” (1963), Oscar winners such as “La Strada” (1954), “Nights of Cabiria” (1957), and “Amarcord” (1973), and a cluster of other works. A hundred years ago, on January 20, 1920, Federico Fellini was born in the Italian town of Rimini, on the Adriatic coast. ![]()
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