He wanted to portray different aspects of a man whose life was meaningless and who was attempting to come to grips with his problems at a fashionable bathing station.
He began to toy with the idea after a visit to Ischia, where had contemplated human beings half-buried in the radioactive mud of the Lacco Ameno baths belonging to Angelo Rizzoli, his producer. According to Fellini’s friend and confidante Angelo Solmi,įew people knew that since autumn 1960 the director had been thinking about the outline of an ambitious new film. After making La Dolce Vita about the world around him, Fellini felt the need to move on to something more personal and intimate, about his own life during this period, but was as yet unsure what form such a project might take. No other film has so pitilessly examined the failure of celebrity culture and tabloid journalism to offer anything of worth to humanity, and the unrelenting bleakness of the film’s scenario ends in a maelstrom of complete social collapse. After such early works as I vitelloni, Fellini broke away from neorealism’s political strictures with the beloved La strada, and from there boldly explored his obsessions with the circus, societal decadence, spiritual redemption, and, most controversially, women, in such films as Nights of Cabiria, Juliet of the Spirits, and And the Ship Sails On.With the enormous worldwide success of his film La Dolce Vita (1960), Federico Fellini consolidated his reputation as a filmmaker of the first rank. In his early career, Fellini was both a screenwriter for neorealist pioneer Roberto Rossellini and a newspaper caricaturist in postwar Rome, competing influences he would bring together with startling results. While his most popular-and accessible-film, the darkly nostalgic childhood memoir Amarcord, is a great entryway into his oeuvre, 8½, a collage of memories, dreams, and fantasies about a director’s artistic crisis, is perhaps his masterpiece. One of Italy’s great modern directors, Federico Fellini was a larger-than-life maestro who created an inimitable cinematic style combining surreal carnival with incisive social critique.
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