This was written in 1982 for The Movie: An Illustrated History of the Movies in the U.K. — J.R.
Starting with Gradisca, a local beauty, lighting a torch and setting a bonfire ablaze to roast the ‘winter-witch’ and usher in the spring, and ending with the wistful farewell she bestows a year later on the randy teenage boys at her wedding while sadly tossing away her bridal bouquet, the small-town life celebrated by Amarcord is above all one of community rituals and seasonal changes. Within this basic rhythmic pattern of eternal recurrence, dreams and other fantasies play as much of a role as precise recollections.
Amarcord means ‘I remember’ in the regional dialect of Rimini (Fellini’s own hometown), and even though the director has been at pains to disclaim any specific autobiographical intent in this episodic caravan or burghers and small-town events, it is clear enough in Fellini’s work as a whole that fact and fancy are never very far apart. Amarcord is Fellini’s thirteenth feature as a director, made 20 years after his first treatment of male adolescence in I Vitelloni (1953, The Spivs), and the distance he has traveled since is largely a matter of the extent to which he has learned to trust imagination over ‘realistic’ observation. Read more