{"id":4220,"date":"2022-09-23T21:48:01","date_gmt":"2022-09-23T19:48:01","guid":{"rendered":"https:\/\/museofellini.studiovisuale.it\/roma\/"},"modified":"2024-04-17T14:30:21","modified_gmt":"2024-04-17T12:30:21","slug":"roma","status":"publish","type":"post","link":"https:\/\/fellinimuseum.it\/en\/roma\/","title":{"rendered":"Roma"},"content":{"rendered":"
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Roma<\/h1>\n
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Year: 1972<\/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: 119 min<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Production: Ultra Film (Roma), Les Productions Artistes Associe\u00e9s (Paris)<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Word sales: Italnoleggio<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Viewed censorship: 59913 08\/03\/1972<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Early in the \u201830s, a young man who\u2019s staying at a boarding school run by priests imagines Rome based on his teachers\u2019 statements and the Fascist regime\u2019s rhetoric. In 1939, when he turns twenty, he goes to Rome and discovers the city\u2019s real nature: people living in a cheap hotels, popular restaurants outdoors, children playing on the streets. Then, in 1972, there are massive traffic jams in the ring-road, and Fellini is shooting a film in a city crowded with tourists. He\u2019s criticized by young people who claim is not interested in politics. This reminds us of a small variety show theatre, where viewers are running away because of an air-raid warning. Then the scene is set at an underground construction site, when works have to be stopped because some archeological remains are found. Then hippies gathering in Piazza di Spagna are shown, followed by the clients of a brothel in the Forties. There is also a clergy fashion show, a party in Trastevere (\u201cfesta de noantri\u201d), and a real mess, with policemen clubbing people and bikers riding in the night.<\/p>\n<\/div>\n

poster – courtesy of \u00a9 Webphoto & Services<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n

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

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Director:<\/span>\u00a0Federico Fellini<\/span><\/div>\n
Story:<\/span>\u00a0Federico Fellini, Bernardino Zapponi<\/span><\/div>\n
Screenplay:<\/span>\u00a0Federico Fellini, Bernardino Zapponi<\/span><\/div>\n
Cinematography:<\/span>\u00a0Giuseppe Maccari (Technicolor)<\/span><\/div>\n
Assistant camera:<\/span>\u00a0Pietro Servo<\/span><\/div>\n
Assistant camera:<\/span>\u00a0Roberto Aristarco, Michele Picciaredda<\/span><\/div>\n
Music:<\/span>\u00a0Nino Rota<\/span><\/div>\n
Musical director:<\/span>\u00a0Carlo Savina<\/span><\/div>\n
Production design idea:<\/span>\u00a0Federico Fellini<\/span><\/div>\n
Production design:<\/span>\u00a0Danilo Donati<\/span><\/div>\n
Costume design:<\/span>\u00a0Danilo Donati<\/span><\/div>\n
Assistant production designer:<\/span>\u00a0Giorgio Giovannini, Ferdinando Giovannoni<\/span><\/div>\n
Set decorator:<\/span>\u00a0Andrea Fantacci<\/span><\/div>\n
Assistant costume designer:<\/span>\u00a0Romano Massara, Rita Giacchero<\/span><\/div>\n
Film editing:<\/span>\u00a0Ruggero Mastroianni<\/span><\/div>\n
Assistant editor:<\/span>\u00a0Adriana Olasio, Leda Bellini<\/span><\/div>\n
First assistant director:<\/span>\u00a0Maurizio Mein<\/span><\/div>\n
Second assistant director:<\/span>\u00a0Paolo Pietrangeli, Tonino Antonucci<\/span><\/div>\n
Special effects:<\/span>\u00a0Adriano Pischiutta<\/span><\/div>\n
Makeup artist:<\/span>\u00a0Rino Carboni<\/span><\/div>\n
Hair Stylist:<\/span>\u00a0Amalia Paoletti<\/span><\/div>\n
Script supervisor:<\/span>\u00a0Norma Giacchero<\/span><\/div>\n
Mixage :<\/span>\u00a0Renato Caduer<\/span><\/div>\n
Choreography:<\/span>\u00a0Gino Landi<\/span><\/div>\n
Frescoes and portraits:<\/span>\u00a0Rinaldo Geleng, Antonello Geleng, Giuliano Geleng<\/span><\/div>\n
General manager:<\/span>\u00a0Danilo Marciani<\/span><\/div>\n
Production manager:<\/span>\u00a0Lamberto Pippia<\/span><\/div>\n
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Production supervisor:<\/span>\u00a0Alessandro Gori, Fernando Rossi, Alessandro Sarti<\/span><\/p>\n

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

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Marcello Mastroianni<\/span>\u00a0: intervistato<\/span><\/div>\n
Anna Magnani<\/span>\u00a0: intervistato<\/span><\/div>\n
Gore Vidal<\/span>\u00a0: intervistato<\/span><\/div>\n
John Francis Lane<\/span>\u00a0: intervistato<\/span><\/div>\n
Alberto Sordi<\/span>\u00a0: intervistato<\/span><\/div>\n
Peter Gonzales<\/span>\u00a0: Fellini a diciott’anni<\/span><\/div>\n
Fiona Florence<\/span>\u00a0: Dolores giovane prostituta<\/span><\/div>\n
Marne Maitland<\/span>\u00a0: guida alla catacombe<\/span><\/div>\n
Britta Barnes<\/span><\/div>\n
Pia De Doses<\/span>\u00a0: la principessa<\/span><\/div>\n
Renato Giovannoli<\/span><\/div>\n
Elisa Mainardi<\/span><\/div>\n
Paule Riut<\/span><\/div>\n
Paola Natale<\/span><\/div>\n
Marcelle Ginette Bron<\/span><\/div>\n
Mario Del Vago<\/span><\/div>\n
Alfredo Adami<\/span><\/div>\n
Stefano Mayore<\/span><\/div>\n
Gudrun Mardou Khiess<\/span><\/div>\n
Giovanni Serboli<\/span><\/div>\n
Angela De Leo<\/span><\/div>\n
Libero Frissi<\/span><\/div>\n
Dante Cleri<\/span>\u00a0: un padre di famiglia<\/span><\/div>\n
Mimmo Poli<\/span>\u00a0: un avventore<\/span><\/div>\n
Galliano Sbarra<\/span>\u00a0: presentatore avanspettacolo<\/span><\/div>\n
Alvaro Vitali<\/span>\u00a0: si esibisce al teatro Jovinelli<\/span><\/div>\n
Norma Giacchero<\/span>\u00a0: intervistatrice di Mastroianni<\/span><\/div>\n
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Federico Fellini<\/span>\u00a0: se stesso<\/span><\/p>\n

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

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1972<\/div>\n<\/div>\n<\/div>\n
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Festival de Cannes: Award Best Technique<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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1973<\/div>\n<\/div>\n<\/div>\n
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Critic Award SFCC (Le Syndicat Fran\u00e7ais de la Critique de Cin\u00e9ma) Best Foreign Film<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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1973<\/div>\n<\/div>\n<\/div>\n
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Nomination BAFTA (British Academy of Film and Television Arts Awards) Best Production Design<\/p>\n

Peculiarites<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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“But a mysterious suggestion seemed to neutralize the all show: the camera crew made up of Roman citizens, who never get upset by either miracles or disasters […] The hieratic, unattainable, rich, sumptuous and impressive figure of the Pope became gradually more silent. We were almost hypnotized. It was an evocative power that was stronger that our awareness that we had brought it about, we had conveyed it and prompted it.\u201d<\/div>\n<\/div>\n<\/div>\n
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(Federico Fellini, Un regista a Cinecitt\u00e0, Mondadori, Milan, 1988, pp. 100-105)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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“In short, the impression you get of this city is only one: ignorance. Rome is inhabited by ignorant people who don\u2019t want to be disturbed, and I think the Church is responsible for this. (\u2026) An ignorant who loves his family. This man is (\u2026) a grotesque \u2018grown-up child\u2019 who is honoured by the Pope continuously spanking him. […] he has no curiosity, and he does not believe that you need to be curious (\u2026) This peculiar atmosphere stems from the fact that the Roman fathers and, the Roman mothers act like nurses, as it were. Romans do not pay their children any simpering compliments. They simply tell them: \u2018You have a cute face, it looks like your buttocks”.<\/div>\n<\/div>\n<\/div>\n
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(Federico Fellini, Fare un film, Einaudi, Torino, 1980, p. 146)<\/p>\n

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

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“When we watch this film we should not only look for Rome, but for Fellini himself, and todays\u2019 Fellini […] Fellini\u2019s muses symbolize memory here (a commemoration of war-time Rome), and memories are deformed by imagination (the grande raccordo anulare or ring-road is seen as hell). In these episodes […] Fellini confirms his talent while evoking situations and characters. Here Fellini\u2019s own reality […] replaces reality, becomes reality itself […] The more you understand the Director\u2019s coordinating effort and the more you consider it over-ambitious. Let\u2019s follow the apparent confusion and perceive unity in such a disorder”.<\/div>\n<\/div>\n<\/div>\n
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(Sergio Frosali, \u201cLa Nazione\u201d, 17 March 1972)<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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“Shots like those on the ring-road, the brothel, the clergy fashion show make up pure cinema. This style mixes up fictional memories and fake chronicle and becomes poetry. In other moments it is a sort of baroque fury combining kitsch, deformed and hideous elements. Notwithstanding some lack of balance, the films always attains the goals the director had set himself. He does this while alternating Bosch\u2019s nightmares, Goya\u2019s black horror and Grosz\u2019 scratches”.<\/div>\n<\/div>\n<\/div>\n
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(Gian Luigi Rondi, \u201cIl Tempo\u201d, 19 March 1972)<\/div>\n<\/div>\n<\/div>\n<\/div>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":3,"featured_media":1710,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20,22],"tags":[],"class_list":["post-4220","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fellini-en","category-filmography"],"acf":[],"yoast_head":"\nRoma - Fellini Museum %<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fellinimuseum.it\/en\/roma\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Roma - Fellini Museum %\" \/>\n<meta property=\"og:url\" content=\"https:\/\/fellinimuseum.it\/en\/roma\/\" \/>\n<meta property=\"og:site_name\" content=\"Fellini Museum\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/FelliniMuseum\/\" \/>\n<meta property=\"article:published_time\" content=\"2022-09-23T19:48:01+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-04-17T12:30:21+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/fellinimuseum.it\/wp-content\/uploads\/2022\/09\/Roma_001-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1272\" \/>\n\t<meta property=\"og:image:height\" content=\"2560\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"ernesta.ricciotti\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"ernesta.ricciotti\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/roma\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/roma\\\/\"},\"author\":{\"name\":\"ernesta.ricciotti\",\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/#\\\/schema\\\/person\\\/a2242aee3feb923c07152d9cd27fa150\"},\"headline\":\"Roma\",\"datePublished\":\"2022-09-23T19:48:01+00:00\",\"dateModified\":\"2024-04-17T12:30:21+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/roma\\\/\"},\"wordCount\":1,\"publisher\":{\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/roma\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/fellinimuseum.it\\\/wp-content\\\/uploads\\\/2022\\\/09\\\/Roma_001-scaled.jpg\",\"articleSection\":[\"Fellini\",\"Filmography\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/roma\\\/\",\"url\":\"https:\\\/\\\/fellinimuseum.it\\\/en\\\/roma\\\/\",\"name\":\"Roma - 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