{"id":4074,"date":"2023-11-03T17:28:10","date_gmt":"2023-11-03T16:28:10","guid":{"rendered":"https:\/\/museofellini.studiovisuale.it\/?p=4074"},"modified":"2024-04-17T14:32:26","modified_gmt":"2024-04-17T12:32:26","slug":"ginger-e-fred","status":"publish","type":"post","link":"https:\/\/fellinimuseum.it\/en\/ginger-e-fred\/","title":{"rendered":"Ginger e Fred"},"content":{"rendered":"
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Ginger e Fred<\/h1>\n
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Year: 1985<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Format: Colour<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Runtime:\u00a0 125 min<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Production: \u00a0PEA (Roma), Revcom Films in associazione con Anthea (M\u00fcnchen), in collaborazione con Rai Uno.
\nStudio: Cinecitt\u00e0
\nWord sales: internazionale Sacis, italiana Istituto Luce, Italnoleggio Cinematografico
\nViewed censorship: 81020 30\/10\/1985Amelia, a former dancer nicknamed “Ginger”, widow and owner of a small industry, goes down to Termini station. He must appear on television to dance, thirty years later, with his old partner Pippo, in art “Fred”. It\u2019s Christmas time, there\u2019s a lot of confusion. Ginger gets on a bus where she meets strange characters; she arrives at a large hotel where all the staff is in front of the TV, taken from a football match. Fred has not yet arrived, and Ginger goes down the street, where she is surrounded by a group of threatening bikers. He returns to his room, hears snoring and discovers that it is Fred, aged, beaten to a pulp, who has agreed to attend the show only for money. The two would like to at least try their old number, but they can not for the bailamme of strange characters, guests, like them, of the broadcast And here it is. They do eventually, but it\u2019s a disaster. Only the compliments of the TV president convince them to participate in the show: when it comes to them it is a success. At the station, at the time of departure, they are recognized and sign autographs. Then, after Fred gets some borrowed money from Ginger, they separate. She leaves. The lights on the tracks go out and only the TV with its pounding commercials remains.<\/p>\n

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Crew<\/strong><\/p>\n

Director: Federico Fellini
\nSubject: Federico Fellini, Tonino Guerra
\nScreenplay: Federico Fellini, Tonino Guerra, Tullio Pinelli
\nPhotography: Tonino Delli Colli, Ennio Guarnieri
\nOperator: Aldo Marchiori, Carlo Tafani, Gianni Fiore
\nAssistant operator: Gianfranco Torinti, Antonio Scaramuzza, Marco Sperduti, Luca Luparini
\nMusic: Nicola Piovani (directed by the author)
\nStage design: Dante Ferretti
\nAssistant set designer: Franco Ceraolo
\nSpecial effects: Adriano Pischiutta
\nCostumes design: Danilo Donati
\nLayout: Gian Franco Fumagalli
\nArchitect: Nazzareno Piana
\nCostume designer assistant: Rosanna Andreoni
\nPaintings: Rinaldo Geleng, Giuliano Geleng
\nChoreography by Tony Ventura
\nEditing: Nino Baragli, Ugo De Rossi, Ruggero Mastroianni
\nEditing assistant: Marcello Olasio
\nSecretary of edition: Norma Del Pace Giacchero
\nAssistant director: Gianni Arduini
\nAssistant director: Filippo Ascione, Daniela Barbiani, Eugenio Cappuccio, Anke Zindler
\nTrick: Alfredo Tiberi
\nHairdresser: Aldo Signorelli, Rosa Luciani, Giancarlo Marin
\nManufacturer: Alberto Grimaldi
\nGeneral organization: Luigi Millozza
\nProduction Director: Walter Massi, Gianfranco Coduti, Roberto Mannoni, Raymond Leplont
\nProduction inspector: Tullio Lullo, Fernando Rossi, Vieri Spadoni, Franco Marino
\nProduction secretary: Alessandro Mancini, Lyda Garozzo, Carla Ferroni, Maurizio Pigna, Filippo Spoletini, Marcello Mancini
\nDubbing director: Mario Maldesi
\nMixage: Fausto Ancillai<\/p>\n

Cast<\/strong><\/p>\n

Giulietta Masina: Ginger
\nMarcello Mastroianni : Fred – ep. Roma
\nFranco Fabrizi : presenter
\nFrederick Ledenburg : Admiral
\nAugusto Pederosi : transvestite
\nMartin Maria Blau : assistant director
\nJacques Henri Lartigue : the flying friar
\nToto Mignone : Toto
\nEzio Marano : intellectual
\nAntonie Saint Jean : assistant
\nFrederick Thun : kidnapped
\nAntonio Lorio : TV inspector
\nBarbara Scoppa : journalist
\nElisabetta Flumeri : journalist
\nSalvatore Billa : Clarke Gable
\nBroom Spinola : mother voices passed
\nStefania Marini : the TV secretary
\nFrancesco Casale : mafioso
\nGianfranco Casale : mafioso
\nGianfranco Alpestre : lawyer
\nFilippo Ascione : pianist
\nElena Cantarone : nurse
\nCosimo Chiusoli : the wife of the despised
\nClaudio Ciocca : cameraman
\nSergio Ciulli : son dead voices
\nFederica Paccosi : dancer
\nAlessandro Partexano : sailor
\nTiziana Bucarella
\nLeonardo Petrillo : Marcel Proust
\nRenato Grilli : Franz Kafka
\nDaniel Aldrovandi : Marty Feldmann
\nBarbara Montanari : Bette Davis
\nBarbara Golinska : Marlene Dietrich
\nLuigi Duca : Adriano Celentano
\nEolo Capritti : Kojak<\/p>\n

Awards<\/strong><\/p>\n

1986
\nSilver ribbon for best actor
\n1985-86
\nSilver ribbon for best actress
\n1985-86
\nSilver ribbon for best scenography
\n1986
\nSilver ribbon for best costumes
\nDavid di Donatello for best actor
\nDavid di Donatello for best music
\nDavid di Donatello for best costumes
\nDavid Ren\u00e9 Clair Award to Federico Fellini for the film
\nNomination BAFTA (British Academy of Film and Television Arts Awards) for Best Foreign Film<\/p>\n

Reviews<\/strong><\/p>\n

A witness of a civilization which is beginning to destroy itself through a system of communications which adulterates knowledge, the cinema of the new Fellini is therefore a lament about the unreliability of the messages transmitted between peoples, individuals and institutions, not inspired by absolute values, but metaphors of provisional truths. It is the groan of an artist who in each of his characters, in their clandestine loves, in their intrigues, in their celestial or brutal movements reads the grimaces of society and the illusions of some candid soul. Therefore, a disconcerting cinema if once again the power of representation, the incisiveness of the portraits, the tragicomic of certain situations did not reverse the anguish of mockery. [\u2026 ] Putting the theme of imitation at the center of the story, and reconstructing almost everything in the studio, Ginger and Fred is the best film that so far has been made about the unreality in which we live, encoded on TV. It is to be glad that it was Fellini, a master of cinema, to remind us, bitterly playing, that we have all been doubles for quite a while, and perhaps that is why on earth we feel lost. We don\u2019t know who to look like anymore.
\n(Giovanni Grazzini, Il cinemondo. Ten years of film 1976-1986, Laterza, Roma-Bari, 1987)<\/p>\n

The approach to La dolce vita is not accidental, and not only for the rather banal reason that an author – a Fellini, especially – always continues to make the same film. What the magazine magazines had been 26 years ago for La Dolce Vita, the world of television with its megashows is for Ginger and Fred. There is no doubt that Fellini continues to be himself: storyteller, magician, illusionist, histrion, mystifier, willing to do anything to play the cards of the show, just to celebrate the Representation, to suggest that, Despite everything, life has its own deep sweetness, indispensable […] Fellini\u2019s gaze seems changed: he has become more despondent. If La dolce vita could be called a journey through disgust, Ginger and Fred is a sea crossing of vulgarity. And vulgarity is that of television, of the flood of advertising, of the civilization of consumption. This is also evident from the few but unequivocal signals that the film sends to the outside world on the TV megashow: those on the degradation of Rome, for example.
\n(Morando Morandini, “The Day”, 14 January 1986)<\/p>\n

A film shot masterfully and that renews the success of a famous trademark. But what kind of film is it? Just a short film to give Juliet and Marcello a chance? Or a film born of an expressive need and such as to add something to what we knew about Fellini and his world? The almost unanimous response of the French newspapers, concerned about the Berlusconi invasion, is that Ginger and Fred is a denunciation of the cultural genocide perpetrated in the degeneration of the television phenomenon. Others argue that it is not just a pamphlet against TV, but against the whole of society today: a sort of Rehearsal Orchestra Part II […] The stoic sense of Ginger and Fred is that maybe there is nothing to understand, you just have to live. We must learn to float as Marcello did in La dolce vita; even if the waters slowly become those of the Styx as in the planned and never realized The journey of G. Mastorna; even though nowadays you have the impression of floating on a polluted sea like Ginger and Fred.
\n(Tullio Kezich, “La Repubblica”, 13 January 1986)<\/p>\n

Imagine the film as a show born from the reunited fantasies of Costanzo, Tortora, Aiazzone, Ed Sullivan, Rai 3 documentary section, Silvio Noto, the old Italnoleggio and Jerry Lewis. To all this Fellini gives the artist\u2019s touch, that quid that transforms the night into light, into sublime the vulgar, in Berlusconi the formless videotape. We said “vulgar” not in reference to some fragments, as the scene of the inventor of the edible briefs that gives proof; nor to that quality so difficult to steal our comedy twilight that only irrelevant: weak, old, children and crippled. But to the magic of knowing how to talk about everything to everyone, to the popular science of winning the public, that Fellini certainly knows at least as well as Pippo Baudo and Mike, and manages with the instinct of the fox that does not need to sign contracts with Canale 5. (Roberto Silvestri, “Il Manifesto”, 25 January 1986)<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n<\/div>\n\n\n

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