Federico Fellini during the casting of the movie 'Casanova'. GTRES
The big butts appear throughout the director's filmography. His life was full of women but he always returned to the arms of Giuletta Masina.
Millions for the Dolce Vita: for sale the attic of Fellini in Rome
Federico Fellini had several obsessions, but what fascinated him most were the big asses of women. Lina Wertmüller, who was her assistant director in the 8 1/2 movie, explained a while ago, in the extras of the American edition of the DVD, an anecdote that is felliniana in the highest degree: "One day, Federico was in a taxi and saw a lady with a huge ass passing through the street , and asked the taxi driver to stand there. He got out of the taxi and followed the woman down the street until she stood in front of a shop window and She went in to buy a bikini that was too small for her. This was the kind of thing that made Fellini laugh . "
You only have to go minimally into the filmography of the wizard of Cinecittà so that, indeed, they appear everywhere, in all their splendor, those circular and opulent butts that gave him life: that of Magali Noël in Amarcord , or that of Anita Ekberg in La dolce vita . In the end, for Fellini everything was a rhetorical way of expressing himself, a synecdoche: the ass - the part - was an expression of the whole, which was the woman. His life was full of women , and around his obsession with them he turned his cinema.
Fellini did not like to eat pasta - it was the only aspect in what was not a quintessential Italian - but he enjoyed all other pleasures - books, table, sun, fresh air, friends - and by extension His entire life was a celebration of the female body , which for him was like the summary of life. As an extension of that, he also made cinema a vehicle of confession of his sins, with biographical chapters in which he recorded his actions and also of his regrets for having succumbed to temptation and having been unfaithful to who was his true and most prolonged love, Giulietta Masina , to which he was united for 50 years.
Fellini was born on January 20, 1920 , now a century ago, and met Masina at the end of adolescence, when he left the Rimini of his youth and moved to Rome with dramatist aspirations. He entered the world of cinema as a screenwriter and assistant director when the long period in Mussolini's power was not over , he learned the trade during the early years of Neorealism, and met Masina when she was a young actress who was also looking for her Future in Rome They fell in love - not without her opposing a certain initial resistance, because he knew that Fellini was a skull , something that was already beginning to be seen by the sets -, but magnetism imposed itself on reticence. They married in 1943.
From the beginning, Masina was a muse for Fellini. In his first film as co-director, Luces de varieté (1950), his wife already had an outstanding secondary role , and he dedicated lustrous planes in which he appeared radiating life . In the following, The White Sheikh (1952) and The Useless (1953), which is a story about his youth in Rimini, the Masina did not appear, but in the next two he obtained the central female roles, the sacrificed Gelsomina of La strada ( 1954), and the naive prostitute of Las noche de Cabiria (1957), two of the interpretative landmarks of postwar Italian cinema.
Just notice how Fellini photographed Giulietta, how he looked for his face and illuminated it, with the intention of capturing his purest expression , to understand that there was a deep love between them, a full dedication. They had no children - the only one they conceived died 15 days after birth, leaving a deep wound in the couple - but they took care of each other until the end . Fellini wrote a novel in his later years, and titled it Giulietta . And in 1993, when he received the Oscar as a whole of his career, he dedicated the prize to her , who was among the public and could not help crying two rivers in which the worries and happy moments of a life together were concentrated. Fellini died in October of that year, of a stroke, and Masina five months later , in 1994, of lung cancer.
However, Frederick did not know, or could not, or did not want, to remain faithful. He could not resist temptation, and so it was from the beginning, with no possibility of amendment. As an example of how he was young: to convince Leopoldo Trieste to be the protagonist of The White Sheikh - when he was not yet a comic actor, just an aspiring screenwriter -, Fellini assured him that he would not lack girls around him. And another of his actors, Franco Interlenghi, explained that when the team of The Useless went to the Venice film festival of 1953 - where the film won the Silver Lion - Fellini's brother, Riccardo, was responsible for preventing he went astray, and added: "Useless task, as if Fellini was not already astray." When he wanted to adapt literary works and took them to the big screen, Fellini always chose classics of eroticism: Satiricon, by Petronius, and the Story of my life , by Giacomo Casanova. It was in his blood.
THE MASINE HEAVENS
La Masina was extremely jealous , and she knew that Fellini could be attracted like a magnet, at any time, a young actress or the lights of a brothel. There is a film, Giulietta of the Spirits (1967), the first that Fellini rolled in color, which can be understood, more than any other, in a psychoanalytic key. In fact, it is a dream film in which Giulietta continually suspects her husband, who assumes several infidelities , and takes refuge in the spiritualism and uncertainty of the night so as not to suffer the hard blow of reality. In the film, the husband is a kind of elusive shadow - an indication of shame, of not wanting to look into his eyes - while she appears radiant, innocent, although increasingly distant from a state of sanity.
"You cannot imagine the number of women, young or old, who were approaching Federico," explained Lina Wertmüller, who lived through the physical and artistic heyday of Fellini right next to her. "He came to form the myth around him, at that time, that everyone wanted to know him." That included Claudia Cardinale and many of the beautiful actresses who appeared in her films, from Brunella Bovo to the Swedish Valkyrie Anita Ekberg, the biggest sex symbol in Europe of her time.
His documented lovers, in any case, were mainly two: Anna Giovaninni and Sandra Milo. Giovaninni did not have a direct relationship with the world of cinema, he worked in a pharmacy , but he met Fellini and he went on to the point of putting a flat in Rome for his meetings, which she indicated on her day that they began in 1957 - neither before Fellini began projecting La dolce vita (1960) - and they concluded in 1993, when the director died.
GIOVANINNI, THE LOVER
Suspiciously opportunistic, this Giovaninni appeared publicly after Giulietta Masina's death and revealed that she kept drawings, documents and several letters from Fellini that she would put up for sale if someone wanted to pay her high price. Apparently, Giovaninni was the real person from which Fellini modeled Carla's character in 8 1/2 , and who played Sandra Milo.
In any case, Milo was Fellini's true obsession, after his legitimate wife. They only worked on two films - the other, curling the curl of the morbid reference, was Giulietta of the spirits , where she played the neighbor released from the couple in crisis - but outside the sets was one of her most constant companies. In recent years, speaking for the Italian heart press, Sandrucchia , as Fellini called it, has revealed that their relationship lasted for 17 years , during the director's fullness. The relationship was clandestine, in the sense that Fellini organized appointments in friends' houses or hotel rooms , as did Marcello Mastroiani's character in La dolce vita, "but we never woke up together. We met at night and we said goodbye before dawn. "
Fellini combined the lovers - as her sister Maddalena said , in a derogatory way to discredit Anna Giovannini, "Federico had more than one whore" - and sometimes it could be something as casual as, in the words of Sandra Milo , "to be attracted for a girl who goes down the street, to follow her and, well, there is no need to say more. " But in the end, the rough waters always returned to the channel of Giulietta Masina.
Apparently, Fellini came to promise Sandra Milo that he would leave his wife and marry her if she asked. "But he was truly in love with Masina. He always came back to her . " And he added that one day, without further ado, he said that "he had the feeling that he would not see her again". So the wayward man returned to true love, and so it was until his last day.
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