I Clowns (The Clowns) (2001)
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Critic Reviews for I Clowns (The Clowns)
[Fellin] turns the world into his circus and, in a liberated, quasi-documentary style, resurrects some of history's great pagliacci with their cornucopia of practical jokes, smashed hats, pulled chairs, popping balloons and squirting flowers.
Fellini's documentary celebration of the dying art of the clown is his best film in years.
It's not that The Clowns is not a good deal of fun, or that it is boring; it's just that -- to me, anyway -- this sort of coda doesn't do justice to the entire career.
This is artful and sometimes very amusing, but it doesn't work as fiction because Fellini is tied to facts, and it doesn't work as documentary because Fellini will not (cannot?) abandon his gift of giving the raw material an artistic shape.
Audience Reviews for I Clowns (The Clowns)
"The Clowns" was partly made for Italian television, so perhaps it shouldn't be measured against other Federico Fellini films. Regardless, it's probably the director's least interesting work. If you're someone who still howls with glee at pratfalls and confetti cannons, please disregard this review. But otherwise, be warned that this tribute to the traditional clown is unlikely to make you laugh. Not even once. Fellini and his crew visit some circuses in Italy and France, and document various ring antics. A few wistful, retired clowns are interviewed. But this is not a strict documentary. The film opens with a depiction of the young Fellini sneaking into a traveling circus. We glimpse his town, where the sideshow qualities of everyday people underscore Fellini's standard "Life is a carnival" manifesto. The climax is an extended "death of a clown" set piece. A segment with Anita Ekberg trying to buy a panther also feels staged, and many other scenes seem too perfectly executed to be true. Fellini was too much of a taskmaster to leave everything to chance. There isn't much insight into the clowns' minds and, beyond some knowledgeable talk of the distinction between "white clowns" and "augustes," minimal academic background is offered. Fellini appears on camera as himself -- "The Clowns" is part a documentary, and part a documentary about the making of a documentary. The can't-miss moment is when a pretentious interviewer asks Fellini about the film's "message," and some prankster drops buckets over both parties' heads. Clearly, Fellini realized this was not one of his major statements. My viewing experience was somewhat hobbled -- the Italian dialogue was subtitled, but not the French. Luckily, the film is mostly visual.
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