Fellini @ 100: "Roma" (1972)

A few volunteers from Team Experience are revisiting Federico Fellini classics for his centennial. Here's Cláudio Alves...

If Rome is the Eternal City, then Federico Fellini might be the Eternal Filmmaker. His cinema exists outside of time, both ancient and strangely new. A filmography that's a circus of pleasures where the grotesque and the beautiful are hand-in-hand, always dancing to a song of transgression and perversity. The faith of the church and the clown's laughter coexist too, precariously, but assuredly, and the images their communion produce are profane marvels. Like ancient frescos, there's a patina of age to these pictures, but they're bright as if they were freshly painted by master artists.

Perhaps no single film better exemplifies these wonderful contradictions than Fellini's Roma…

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Fellini @ 100: "La Strada"

A few volunteers from Team Experience are revisiting Federico Fellini classics for his centennial. Here's Mark Brinkerhoff...

My first recollection of watching La Strada is in a class at school as a youth. Oddly though, I neither can recall which class nor at what age exactly I saw it. But Federico Fellini’s 1954 breakthrough is nothing if not a film that sticks with you, like a bracing force which leaves an imprint that lasts.

A masterwork in Italian neorealism, La Strada (“The Road”) is set largely against the backdrop of a traveling circus, centering on a triangle of sorts between a trio of street performers...

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50th Anniversary: "Anne of the Thousand Days"

Anne of a Thousand Days (1969) was released 50 years ago today.

by Cláudio Alves

Even before her famous death, Anne Boleyn had become a legend. I don't say this to aggrandize the historical figure, but to explain that the second wife of Henry VIII had transformed into something not quite human. Legends aren't people so much as abstractions of them, told and retold, morphed by cultural shifts and the interest of those who tell them. 

With the birth of cinema, Anne Boleyn would come to be one of the stalwarts of the historical drama on the big screen. Unfortunately, the cycles of empty mythologizing wouldn't end with the advent of new technology. As a character, Anne Boleyn is more often than not a symbol. She's a monstrous harpy or she's a martyred victim, she's a seductress who brought disgrace upon herself or she's an icon who died at the hands of a perfidious tyrant. Even on the rare instance when she gets to be protagonist, rather than a supporting player in another's tale, she's not allowed to be a person with a full characterization. For what it's worth, 1969's Anne of the Thousand Days, at least, tries to do right by Anne Boleyn.

I'm unsure if this is the filmmaker's doing or the singular feat of Geneviève Bujold...

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Oscar Mythbusting: 'Weak' Best Actress Years (feat. "Tom & Viv")

by Cláudio Alves

There's been much talk of this year being a weak one for the Best Actress category. That's nonsense. While it's easy to understand where such dreary thoughts come from, it's a foul myth. Every year has the potential to be great, you just need to look at films outside the Academy's usual favorites and our preconceptions about what constitutes awardable acting. 

Take 1994, a year traditionally considered among the weakest for the Best Actress Oscar. While it's true the nominated five aren't a particularly stellar collection, they each bring something to the table. There's Winona Ryder and her anachronistic charm, Jessica Lange's primordial rage and lust, Susan Sarandon's solid reactions, and Jodie Foster's fearlessness. Finally, there's the lead actress of Tom & Viv, a film now celebrating its 25th anniversary…

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"Three Colors: Red" at 25

by Lynn Lee

Transfixed.  Transported.  Exhilarated.  These are words I don’t use lightly when I’m talking about movies, but they all apply to my reaction the first time I saw the final installment of Krzysztof Kieslowski’s Three Colors trilogy.  And in large measure they still do.  Even if the initial wonder has given way to a comforting familiarity, few films capture the universal human yearning for connection and kinship (or fraternité, the unifying theme of Red) as vibrantly yet delicately as this one.

I first saw Red some years after its initial release, at a special screening at the university I was attending.  I went in knowing very little about the film except that the friend I went with had seen it before and spoke of it in glowing terms.  He noted that in an ideal world I’d have seen the preceding chapters, Blue and White, but thought I’d enjoy Red even without having done so.

He was right. 

In fact, I occasionally wonder if Blue and White – both of which I admire rather than love – suffered by comparison when I saw them later.  Perhaps I’d have a different take if I’d watched the trilogy in the intended order.  But I don’t think it would have altered my strong personal affinity for Red, which quickly became one of my all-time favorite films...

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