The marionette like blind accordion player, providing the score for the comedy and tragedy of life in a coastal town in pre-war Italy is, perhaps, one of the most enduring images coming out of Fellini's imagination, an image that lingers in the mind, appearing in my conciousness on the most unexpected moments. Re-watching Amarcord brought that character solidly to the front of my mind, again.
Fellini, to my mind, had this uncanny skill to mould real people, actors, into a world created out of his imagination, a world where reality and fiction are just one seamless reality, where reality becomes fiction, and fiction reality. The world he creates, or re-creates (does it matter?), in this film falls clearly into this category.
Even the fascists are portrayed as figures of parody, terrifying, yes, but still parody, like the battle that a fascist uniformed gang had with a gramophone playing the International on the church tower during a visit from a regime dignitary, and the subsequent portrayal of the wheelchair bound fascistic commander, overlooking the comedy like interrogation of the lone socialist in the town. Yet, Fellini's gaze is always humane.
His films just linger in the mind, even after many years after watching them, the atmospheric scores by Nino Rota being essential ingredients.
Just some thoughts. Many words have been written about his cinema.
Amarcord at IMDb: http://www.imdb.com/title/tt0071129/
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