Skip to main content

Federico Fellini's Impact on Woody Allen

A scene from Woody Allen's "Stardust Memories"

Tonight I watched the film, "Woody Allen: A Documentary." I was not expecting a connection to Italian cinema but since one usually ends up presenting itself, tonight was no different.

A scene from Federico Fellini's "8 1/2"
The documentary brought up the similarities between Allen’s "Stardust Memories" and Federico Fellini’s "8 ½." These are films that I saw 20+ years ago when I was young and exploring the masters of cinema. I found both films fascinating but I believe that I was too young to understand the complexities of them. My memory recalls their visual aspects- the zany characters and faces and a strong sense of the surreal. In "Woody Allen: A Documentary," Allen himself talks about the impact that Fellini had on his career. Although I've seen just about every film that Allen has made, I didn’t realize how strongly Fellini influenced his work. After watching this film, and yesterday by coincidence, Ettore Scola’s 2013 "How Strange to Be Named Federico," I can see similarities not only in their work but also in their unique personalities, their curiosities about life and mortality and their undeniable comic genius that catapulted each of them to success.
Ettore Scola directs his grandson, Tommaso Lazotti, as a young Fellini
“Fellini loved driving and he treated his insomnia by taking his friends out in turns for midnight drives: true and tried kidnappings. He’d pick up drunks, compulsive liars, dethroned princes, even a few streetwalkers.. out of curiosity, out of an uncontrollable love for life. And with him, that car became a confessional booth. Life was a party, he loved to say, so why not live each moment as one?”  I really enjoyed this line in "How Strange to be Named Federico." Many of the scenes take place in a car driving around Rome. Through the windows, you can see the landmarks, the fountains, the piazzas and of course, the Romans. Rome was to Fellini what New York City is to Allen- a metropolitan muse. Speaking to that muse, Fellini’s "La Dolce Vita" was Allen’s "Manhattan" just like Fellini’s "8 ½" was Allen’s "Stardust Memories." Furthermore, Scola says "The White Sheik" inspired Allen's 2012, To Rome With Love .


"Woody Allen: A Documentary"
The qualities I feel are the strongest between the two filmmakers are taking an average character and putting him into a completely surreal fantasy world, the diversity of stories ranging from comedy to love to tragedy and the strong presence of the muse in their work- For Fellini, it was Marcello Mastroianni and Giulietta Masina, his wife of 50 years, the city of Rome and the Romans. For Allen it was (in the '70s and '80s) Diane Keaton and Mia Farrow- with whom he had relationships, the island of Manhattan and New Yorkers. It is noted in Scola’s documentary that “Fellini adopted Mastroianni as an ideal alter-ego in his main films. In fact, he took better care of him than he did himself: forcing physical exercise and diets on him that he himself never did”. In Allen’s documentary, he talks about his closeness with Keaton and how her friendship gave him the ability to see life from a woman’s perspective.

Ettore Scola and Federico Fellini
The biggest difference I see in their work is how uncomfortable Fellini felt in front of the camera whereas Allen is a total ham and comes alive. Scola recalls how “it took many car rides and convincing to get Fellini to play himself in Scola's 1974 ensemble masterpiece, "C'eravamo tanto amati" (We all loved each other so much). When he did finally accept the offer, it was on the condition that he wouldn’t be filmed from behind, “so no one sees my bald spot”.
Another aspect of these masters’ films that I appreciate is their way with music and how it's a protagonist of its own- for me most notably in Allen’s opening scene of "Manhattan" with Gershwin’s "Rhapsody in Blue"...  


... and Fellini’s closing scene of "8 ½" with Nino Rota’s "La passerella"..


On that note, Scola, also a master screenwriter and director, beautifully ended "How Strange to Be Named Federico" with Rota’s signature circus-like melody in a collage of powerful images from his films with Alberto Sordi and Mastroianni. It reminded me of the equally beautiful scene from John Huston's 1952 "Moulin Rouge" in the very final moments of artist Henri de Toulouse-Lautrec's life when that signature can can music plays with the images of his friends and muses. 
With each of these scenes, I was struck by an explosion of nostalgia which made me ponder the great question of Woody Allen and the reoccurring theme of his films, why can’t life be eternal? Surely we are not eternal, but one thing is for sure.. the magic of cinema.

Comments

Popular posts from this blog

New faces of Italian cinema

Angelo Iannelli With the 2012 film festivals just about wrapped up, we saw a big emphasis this year on newly emerging and independent filmmakers. This was most notable in the Venice Film Festival's Horizon's program, which gave these filmmakers an unprecedented amount of visibility as the program reached out to people all over the world via the internet.  To mark this current trend, I recently caught up with two independent filmmakers in Rome: Angelo Iannelli and Vito Napolitano. Each filmmaker has experience on both sides of the camera. Their origins are based in the south of Italy but they are now living in Rome. Angelo Iannelli was born in Benevento in the region of Campania, while Vito Napolitano is from Lecce in Puglia. What I enjoyed the most about our conversation is the passion with which the two young filmmakers speak about cinema. They are so enthusiastic and about their craft, they reel you right into their dreams. The three of us recently met up at the Li

The Timeless Talent of Stefania Sandrelli

On screen since the tender age of 14, she has captivated audiences for more than 50 years with a compelling combination of strength and vulnerability. She achieved stardom at just 14 years old playing the angelic cousin of a love-struck Marcello Mastroianni in Pietro Germi’s “Divorce Italian Style.” More than half a century later, she is still going strong and remains one of Italy’s most esteemed actors. Stefania Sandrelli was born on June 5, 1946, in Viareggio in the province of Lucca in northern Italy. As a child, she studied music and dance. Then in 1960, she won a beauty pageant and was featured on the cover of Le Ore magazine. Her purity captivated the country and shortly thereafter, movie offers began pouring in. Just one year later, she made her cinema debut in three feature films: Mario Sequi’s Gioventù di notte , Luciano Salce’s The Fascist, and Pietro Germi’s Divorce Italian Style . She instantly became a star and before long was a key figure in Italy’s legendary

Nicoletta Braschi and Roberto Benigni.. What cinema dreams are made of

The Toronto International Film Festival is wrapping up its retrospective of the cinematic collaboration of husband and wife team, Nicoletta Braschi and Roberto Benigni. Over the last few days, the couple have participated in discussions, Q & A sessions and have introduced several of their films. Today, I attended a screening of "La voce della luna" (The voice of the moon). It was  Federico Fellini's last film and is a wonderful tribute to the director's signature poetic madness. The film gave Benigni the opportunity to team up with fellow beloved comic, Paolo Villaggio, and the two created a truly unforgettable adventure. Today's screening began with an introduction by Benigni. The moments leading up to his introduction were noticeably serious and somewhat tense. Benigni's publicist and TIFF security staunchly guarded his privacy. There was no interaction and no photos were allowed. Guided by his entourage, he walked quickly from the Green Room to th

Anna Foglietta: Actress and Activist with Old School Elegance

One look at actress Anna Foglietta in her any of her roles, and the Golden Age of Italian cinema comes to mind. Among Italy’s most sought-after actresses today, Foglietta brings to the table a classic eloquence of yesterday while representing Italy’s modern woman. Born in Rome in 1979, Foglietta began her career in 2005 with a role in the RAI television series La squadra . Her character Agent Anna De Luca had a two-year run on the series as she was transitioning to cinema with Paolo Virzì’s 2006 ensemble project 4-4-2- Il gioco più bello del mondo . Since then, she has become one of Italy’s most diverse actresses, transforming herself into interesting, layered characters for comedies and dramas alike. Aside from a small part in Anton Corbijn’s 2010 film The American starring George Clooney, Foglietta’s work began reaching mainstream American audiences in 2015. As Elisa in Edoardo Leo’s 2015 comedy Noi e la Giulia , Foglietta showed her funny side playing a goofball pregn

A Conversation with Actor Mirko Frezza of David di Donatello Winner "Il più grande sogno"

The 2017 David di Donatello award show, which took place on Monday, was an exciting event that celebrated many great contemporary talents of Italian cinema.  I was fortunate to have seen most of the nominees.  Among my personal favorites  is Michele Vannucci's  Il più grande sogno  simply because it is based on one of the most inspiring, beautiful stories I've ever  heard, and the person behind that story is as authentic and down-to-earth as they come. The film won the 3 Future Award, which is determined by the public. With Director Michele Vannucci and Actor Mirko Frezza I first saw  Il più grande sogno last September when it premiered at the Venice Film Festival. I didn't make it to Venice, but thanks to a great online platform called Festival Scope , which offers a handful of premieres to be screened on the web, I felt like I was there. The film itself blew me away, and then when I realized it was based on a true story, I knew that I would have to find out mor