Fellini´s Amarcord at Film Forum...3-16 dic.

Al igual que infinidad de creaciones en esta vida, este espacio y este molto tienen origenes, referentes a los que es necesario regresar cada vez que las cosas se complican e incluso cuando todo esta bien. Entre los referentes a que hago alusión sin duda se encuentra Federico Fellini, el mago italiano, del cual Anthony Lane refiere algunas lineas que abundan en torno a la critica de la obra Amarcord, en la mas reciente edición de The New Yorker...


He Remembers
by Anthony Lane. 8.12.08

No film starts more entrancingly than “Amarcord.” Federico Fellini, returning to his native Rimini, catches it precisely at the vernal moment: the toll of a church bell, as bright and clear as the sky, through which puffballs of thistledown drift, signalling the end of winter. “Affection is even more important than love,” says Gradisca (Magali Noël), the town favorite, adored from a distance by its youths, whose education—sentimental, scholastic, erotic, and political—is just one of the frames through which Fellini recalls the nineteen-thirties. Seasons make do for plots; faces, curves, and gestures serve up instant characters; epiphanies descend from nowhere, like the celebrated peacock in the snow. When the film opened, in 1973, some viewers criticized its view of Fascist enthusiasm as just one more natural folly of the period; even Gradisca longs to touch a visiting official. The new print, showing at Film Forum Dec. 3-16, will be a chance to revisit that debate—to ask whether affection can blur as well as compel.