Foto: Claudio Porcarelli
HIS MOVIES ARE POSTCARDS FROM HEAVEN. ANY IMAGE OF HIS IS A PICTURE AND YOU KNOW HE IS THE ONE WHO DIRECTED THAT SHOT. AN ITALIAN WHO HAS BEEN ABLE TO WRITE PAGES OF CINEMA THAT WERE READ AROUND THE GLOBE. FEDERICO FELLINI, PAPARAZZO OF HIMSELF.
He created images and neologisms, stopped hearts and desires, bewitched common folk and artists. Federico Fellini and Marcello Mastroianni, face and pen of that movie that celebrated Italian cinema everywhere. ”According to me we can divide movies into before La Dolce Vita and after La Dolce Vita: it has broken the rules of narrative thanks to its audacity, it has shown that you could be honest on screen. Never had we seen a work with such a high morale, intelligence and maturity. It has changed history”. Words spoken by Martin Scorsese, and maybe we should believe him. With time Fellini has become a prejudice, an illogical analysis of a glimpse of life, sweet or maybe not. With these words in one of his last interviews, he told Positif, a French Cinema Magazine, about his arrival Rome: “I still remember the first time I arrived, in a tram, a small tram that left from the train station, left behind the city and crossed endless miles of countryside next to a Roman aqueduct. In the end this building, halfway between a hospital and a University would appear, it had a magical name Cinecittà.” That tram was numbered 8 and a half, than it turned into a “Street”, and by a giant leap in fantasy it turned into a ship that still kicks time in the butt. “Excuse me, Federico, can I take a picture?” “Who are you, paparazzo?” “I am Aptitude” Federico smiles and, almost turning his back to the camera reassures us. “Go ahead, shoot…”