E LA NAVE
certainly deserves a place of honor is the master's creationas the most eerie, genuinely Goyesque and intriguing rune, a surrealist and twisted vision using profuse intuitions and ambiguous understatements. That's why few movies can match this one. It does not require maybe that much expertise to acknowledge what a thoughtful movie this is, and, beyond being thoughtful, from what depths of genuine intuition it does proceed.
E LA NAVE is one of the buff's examsthe master has long ago already passed his exams, and now the buff faces this onewhat will he/ or she, fair reader, make of this bizarre, strikingly funny, surrealist _capriccio ,once its very visionary nature is acknowledged and brought to full admission? Me, I'm a man aged in such Fellinianisms. I recognize quickly the artifacts of the surrealism contrived and forced; I can testify for the authenticity of the Fellinian creative intuition in E LA NAVE ;it's a fever of the FellinibeyondFellini, at a stage without sentimental-isms and heartache; a coherent world-view, a satire and a bitter comedy. Maybe, just maybe, a surrealist cosmogony as well.
Already in Fellini's time, cinema was long ago validated as art. There was no word of acknowledging or validating it as art; Fellini already comes after some giants. Nowadays as in Fellini's own time, some people, less discerning, seem eager to recognize DAUGHTER OF HORROR (which I comment on this site) as genuine surrealismbut to a lesser degree E LA NAVE ; now that's awkward. Because here Fellini the wizard went beyond ambitions and achieved this partGoyesque part satirical take on a world long ago abolished and drowned; and some of those who know at least some of the important Italian cinema of the '70s and '80s (things like the Ottaviani brothers, the Avatti, and the master Fellini himself) will not fail to recognize rather promptly this blend and also this special flavor of temerity and decadence.
Now of course most do not even need this; yet I would insist of taking by the hand the unconvinced few and dip them a little in thiswhat shall we call itin this primordial soup, in this _cosmographic sketch. I bet you do not know many other musical sequences in the cinema as good as the glasses session in the ship's kitchen. They are good, are they not? You had some fun. Or the countless jokes issued by the master's inventivenessbeginning of course with the silent scene right at the beginning, before the color shift.
The final Fellini was somehow the mellower; understandable. Do not be fooled by the down-talkers. They ignore the trade. Maybe those used with the first Fellinior with the first Fellinis, should one sayfailed to adapt and change. But for me, after the '60s Fellini only got betterif such a thing were possible. In E LA NAVE there's nothing phony or fake; on the contrary, it's creepily genuine.
Enjoy the style, the movement, the atmosphere, the approach! I have mentioned the scene of the glass concerto; there, the cinematographic phrase itself dances. What Fellini delivers here are not a few gimmicks and tricks but an original take. Here at least some schmucks who pretend to direct movies could learn at least some of the externals.
E LA NAVE is one of the buff's examsthe master has long ago already passed his exams, and now the buff faces this onewhat will he/ or she, fair reader, make of this bizarre, strikingly funny, surrealist _capriccio ,once its very visionary nature is acknowledged and brought to full admission? Me, I'm a man aged in such Fellinianisms. I recognize quickly the artifacts of the surrealism contrived and forced; I can testify for the authenticity of the Fellinian creative intuition in E LA NAVE ;it's a fever of the FellinibeyondFellini, at a stage without sentimental-isms and heartache; a coherent world-view, a satire and a bitter comedy. Maybe, just maybe, a surrealist cosmogony as well.
Already in Fellini's time, cinema was long ago validated as art. There was no word of acknowledging or validating it as art; Fellini already comes after some giants. Nowadays as in Fellini's own time, some people, less discerning, seem eager to recognize DAUGHTER OF HORROR (which I comment on this site) as genuine surrealismbut to a lesser degree E LA NAVE ; now that's awkward. Because here Fellini the wizard went beyond ambitions and achieved this partGoyesque part satirical take on a world long ago abolished and drowned; and some of those who know at least some of the important Italian cinema of the '70s and '80s (things like the Ottaviani brothers, the Avatti, and the master Fellini himself) will not fail to recognize rather promptly this blend and also this special flavor of temerity and decadence.
Now of course most do not even need this; yet I would insist of taking by the hand the unconvinced few and dip them a little in thiswhat shall we call itin this primordial soup, in this _cosmographic sketch. I bet you do not know many other musical sequences in the cinema as good as the glasses session in the ship's kitchen. They are good, are they not? You had some fun. Or the countless jokes issued by the master's inventivenessbeginning of course with the silent scene right at the beginning, before the color shift.
The final Fellini was somehow the mellower; understandable. Do not be fooled by the down-talkers. They ignore the trade. Maybe those used with the first Fellinior with the first Fellinis, should one sayfailed to adapt and change. But for me, after the '60s Fellini only got betterif such a thing were possible. In E LA NAVE there's nothing phony or fake; on the contrary, it's creepily genuine.
Enjoy the style, the movement, the atmosphere, the approach! I have mentioned the scene of the glass concerto; there, the cinematographic phrase itself dances. What Fellini delivers here are not a few gimmicks and tricks but an original take. Here at least some schmucks who pretend to direct movies could learn at least some of the externals.