as Vestal Virgin
as Young Girl
Critic Reviews for Intervista
Fellini, distant from the theater yet clearly fascinated by its unique properties, has blended them into his ultracinematic style...in Intervista he is the center, amiable yet enjoying his performance.
Federico Fellini broke through all the walls he could find in 1987's delightfully jumbled Intervista. The maestro created a film about a film about a film.
In its own seemingly off-hand manner, it's a grandly cosmic joke.
It would not be of much interest, I imagine, to anyone who was not familiar with Fellini's earlier films.
An enjoyable, lightweight entertainment, filled with the usual Felliniesque characters, faces, and situations.
Audience Reviews for Intervista
It's a shame "Intervista" wasn't Federico Fellini's last film, because it would have been a perfect farewell. Mostly autobiographical, it features the director himself as a prominent onscreen player. Fellini described the film as an informal chat among friends, and "Intervista" indeed has an enjoyably meandering, conversational structure. Not just a movie-within-a-movie, it even becomes a movie-within-a-movie-within-a-movie. A chirpy Japanese crew maneuvers to interview Fellini as he shoots a retelling of Franz Kafka's "Amerika." He soon introduces actor Sergio Rubini, who will be portraying Fellini as a young man. Fellini advises a makeup girl to add a pimple to Rubini's nose for comic effect, but a short time later, the pimple is "real" and Rubini is dramatizing Fellini's memories of visiting a major Italian film studio for the first time. Innocent, awestruck Fellini sees various scenes being shot and eventually has trivial dressing-room dialogue with an aging movie queen. Once that section closes, the narrative moves to backstage sequences including a depiction of how Fellini casts his legendary "faces," a surreal attack by Indians wielding TV antennas instead of spears and, most touchingly, a reunion between Marcello Mastroianni and Anita Ekberg. Twenty-seven years have passed since the two splashed in a fountain during a famous "La Dolce Vita" scene, and Ekberg is much heavier and no longer a hot property. Of course, Mastroianni has become a superstar, but Ekberg shows no competitive bitterness. Their misty-eyed viewing of the old footage -- their tears require no acting, I'm sure -- is usually cited as "Intervista"'s highlight.
My first Fellini was really disappointing, Maybe it wasn't a good choice to watch this before his other movies
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