Cartoons With Big Bootys

Fellini, and Mamma Roma "La Storia" in Other

Published on "the Fund" of www.mirorenzaglia.org

NOR bulls (Federico Fellini film of redemption to the world after criticism of its soap operas The White Sheik that almost cost him his career, and especially to Alberto Sordi), one of the protagonists, Moraldo, terminates all with his early morning departure on a train that will take him from his provincial Rimini in Rome. Moraldo is none other than Fellini himself.
Federico Fellini came to Rome is very young, during the Second World War. He was tall and very thin (so it was nice to Anna Magnani), fields together with Alberto Sordi writing drafts for Aldo Fabrizi, plus the arrival of the Americans would land a decent living doing caricatures Americans that roamed around the eternal city (that Fellini and those characters can be seen in the film celluloid romance Rome, Open City ).
And the city of Rome did not cease to exert a strange fascination on Fellini, the same one that carried on Pasolini and a large part of Italian film from Neorealism to Fellini precisely the years (but still carries the thinking of the case Romanzo Criminale Cesaroni and not wanting to think). Treating of neorealism is precisely the film Rome, Open City which historically marks the beginning, with the dramatic race of Anna Magnani. And of course we can not mention De Sica with Shoeshine, Bicycle Thieves el'Umberto D. all set in Rome and describing the lives of children, men and elders of a city just emerged from World War II. Clearly, the neo-realism, however, that he set his plots in other areas, could not consider Roma as "that hole where to look the world in that period.
Rome is a unique city. A city that swallows people and stories in an incredible manner, with its vast suburbs and its immense hot. Horrible in some ways, the lines of social and universal drama that occur within it. But that never fails to seduce, and attract an almost magical. Returning to the cinema, just think of the final scene of Mamma Roma by Pier Paolo Pasolini. Anna Magnani-prostitute who is the protagonist of the film, when he learns of the death of his son runs up the stairs to the room of Hector to throw out the window, but when he opens it, supported by other women is still struck by the vision of the city , this mother who ate her son came from the province. Pasolini Roman life among boys found the inspiration for books and movies, has well expressed this sentiment. And Fellini
what he thought of Rome? He made this city live in the stories of Marcellus, or that of Cabiria (Le Notti di Cabiria) or in their own film called Rome in 1972, said this: "I think a terror brown, muddy: a wide sky, smashed, the backdrop of the work, color purple, glows yellow, blacks, silver color funeral. But all in all is a comforting face. ... With his belly placenta and its maternal aspect avoids the neurosis but also prevents development, a true growth. There are no neurotic but not adults. It 'a city of children listless, skeptical and rude, even a little' deformed, mentally, because it is unnatural to prevent the growth ... in any other city, a soldier, for example, is a soldier. In Rome, no, here they call them . Here: it is always the children of mother and mother is Mary, or the Church .... For three hundred sixty-four days a year you can be completely alien to Rome as a city, without seeing it live, or worse, bear with discomfort. But then, behold, gaze into your moods in a taxi stopped at an intersection, a road that suddenly you know you certainly appears in a light and color as I had never seen, but is sometimes a gentle breeze that makes you raise eyes and see the high ledges and terraces against a blue sky will take your breath away "(from the book Making a film by Fellini).
I chose to think of the cinema, because lately I've been impressed that so much Italian films are set in this city. It will be my awe? Maybe it's easier to think that was the post-war Cinecittà, to move all the Italian cinema, and indeed everything had to turn around Rome. But this is precisely the point, or at least the center of my feeling. The history of Rome as it stays that Elsa Morante physical place where it moves the story of all humanity, and in this drama is packed with all actors on stage in a strange rhythm, almost pre-historic or biblical. Exactly, here are all gesùccristi and all ladies, and indeed, as ever in this city is so large a devotion to the Virgin Mary, a devotion which also covers those who do not believe in God 'a particular city Rome, especially because it is enormous in its suburbs that stretch for miles. E 'especially since the Romans were driven out from Rome with a force almost Atomic increasingly pushed out of that warm belly that is the power, the bureaucracy, the church hierarchy. Still they say in Rome, "Annan in Rome," because the Rome of the Romans is different from that one. Here then is all the Romans, and not for good or host population, but because the Romans are now the southerners, and will become one day the Romanians, and other non-EU. All will become gesùccristi pore and pore Madonnas three hundred sixty-four days a year in a row only to find love one day.
back to us, and returning to the cinema, neorealism could not help but return to Rome. He could not help it because that is where the drama of a nation consumed, and consumed the drama here is of a city that had suffered the Nazi occupation and lived the drama of the dream of change after the liberation. Pasolini could not help it, because in Rome there were those who were beggars of a mother who ate and left a few crumbs to the children seated in the tedium of a dusty bar (Pasolini, perhaps, could not help it even to die there). And even Fellini could do without telling the sloppiness Via Veneto or the heat of the summer dinner for voracious Roman families. And many others could not help it. Even today you can stop looking at Rome, that grows, evolves but never changes at the bottom. Continue to eat hustlers, whores, pimps and politicians every day without anyone noticing (we especially do not realize it), because its true reality is never that of cuppoloni or white marble.