Federico Fellini – The Mystery of His Genius
The famous director Federico Fellini was well-known for his enigmatic works, including the film I’m a Born Liar and many other comedy-dramas. Before he died on 31st October 1993, Fellini had won several awards, which included The Oscar in the category of Best Foreign Film for La Strada in 1954, The Nights of Cabiria in 1957, the Amarcord in 1973 and last but not least, the 81/2 in 1963 among other nominations. These films brought out the view about how Fellini conducted his life and how he expressed himself better in film rather than in his actual words as shown in the interviews he frequently gave. Fellini was a man of a mysterious nature, with a style of filmmaking that impacting millions worldwide.
Fellini was born in Italy, but was not too popular in his own country. The Italian public have been quoted saying that they did not appreciate his films due to their inherit mystery. His work was too complicated for most viewers. Many of the reviewers of his films described them as beautiful due to the fact that they were built on lies and were confusing. The act of lying presents the mystery in his films. His genius in this respect can be clearly seen in his film Otto e Mezzo. In this film, all the characters and every instance depicted has a specific meaning. In an article by Mario Verdone of Bianco e Nero, it was stated that the film had brilliant improvisation. He compares the film to an acrobat with a tightrope walker trying to execute from high above the crowd, almost falling every step and embarrassing himself – but manages to salvage himself just at the right moment.
As portrayed by most of his works, Fellini uses mystery to apply a message across and sensitize people to their surroundings. In instances from his films 81/2 and Juliet of the Spirits, he warns and reminds people to keep in contact with events and sensations connected to the happenings of the world.
In an interview, Fellini said that he adored actors who were contradictory, in that the actors he claimed to adore had totally different characters from his. To start with, Fellini claimed to cherish Donald Sutherland, who was a star of Fellini’s Casanova (1976). The difference in their characters was that Fellini was a tyrannical and dreadful man. Sutherland describes Fellini as a man who feared his image and often ran away from it. Actor Robert Benigni, who was featured in the film Voce Della Luna (1990), brings out the aspect that Fellini adored actors when he says “He treated me, for the very first time in my life, like I was a real actor. Or better- actress! I was in the center, and to everybody he said “This is my Kim – a Novak.”’
Federico Fellini, near the time of his passing, was bogged down with a fear of death. He claims that doubt was a crucial aspect that must be observed in any creative work. He continued to define the fear of death as a phenomena people have to appreciate, since no human could do without having fear. He explains that any human who perceives themselves as fearless is a fool, as it is a natural part of who we are to be afraid. Unfortunately, Federico Fellini died later on in the year 1993 on October 31st, but his films continue to present his mystery and genius.
References
“8½”. BFI Film & Television Database. London: British Film Institute. Retrieved December 27, 2012.
“Top Rental Films of 1963″, Variety, 8 January 1964 p. 37.
Reviewed by Almar Haflidason. Updated 17 April 2001 (17 April 2001). “BBC – Review of Fellini’s ”8½”.” Bbc.co.uk. Retrieved 4 April 2012.
“Directors’ Top Ten Poll”. British Film Institute. Archived from the original on 18 March 2007. Retrieved 26 March 2007.
“Vatican Best Films List”. USCCB. Archived from the original on 23 July 2010. Retrieved 25 July 2010.
Eugene Walter, “Dinner with Fellini“, The Transatlantic Review, Autumn 1964. Quoted in Affron, 267.
8½, Criterion Collection DVD, featured commentary track.