Amarcord 1973 R

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(107) IMDb 8/10
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This carnivalesque portrait of provincial Italy during the fascist period, the most personal film from Federico Fellini, satirizes the director's youth and turns daily life into a circus of social rituals, adolescent desires, male fantasies, and political subterfuge, all set to Nina Rota's classic, nostalgia-tinged score.

Starring:
Pupella Maggio, Armando Brancia
Runtime:
2 hours 4 minutes

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Amarcord

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Product Details

Genres Drama, Comedy
Director Federico Fellini
Starring Pupella Maggio, Armando Brancia
Supporting actors Magali Noël, Ciccio Ingrassia, Nando Orfei, Luigi Rossi, Bruno Zanin, Gianfilippo Carcano, Josiane Tanzilli, Maria Antonietta Beluzzi, Giuseppe Ianigro, Ferruccio Brembilla, Antonino Faà di Bruno, Mauro Misul, Ferdinando Villella, Antonio Spaccatini, Aristide Caporale, Gennaro Ombra, Domenico Pertica, Marcello Di Falco
Studio The Criterion Collection
MPAA rating R (Restricted)
Rental rights 3-day viewing period. Details
Purchase rights Stream instantly and download to 2 locations Details
Format Amazon Instant Video (streaming online video and digital download)

Customer Reviews

"Amarcord" is one of my favorite films.
ECK
Through the interaction of these characters, Fellini allows his audiences to encounter a town, the families, a community, and the simple life that exists within it.
J. Brackett
At the same time, the film is much more than a mere visual presentation of Fellini's own nostalgia, for it also questions the true validity of one's own memories.
Daniel Garris

Most Helpful Customer Reviews

67 of 73 people found the following review helpful By Miko on August 26, 2000
Format: DVD
Fellini's theme of coming of age memoir works as a beautiful nostalgic piece. The film resonates from an earlier film of his 8 1/2 showing the director's flashes to his seaside hometown. I've watched this film several times and on every occassion find something new. Here's a tip to enjoy watching a foreign film - Do NOT watch the English dubbed version if there is any - so much is lost in the film. Fellini's films work with subtitles because they make you forget you're reading them at all and as always, Fellini pleases both eye and ear and subsequently the heart. The musical score by Nino Rota is something one looks forward to in every scene. His music perfectly sets the tempo of each image, and I mean each and every one. What a duo of artistic genius these two men are! Watching the film on its excellent Criterion-restored DVD version, one can only wonder what the cinema world would be without Fellini.
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22 of 22 people found the following review helpful By J. Brackett on May 5, 2007
Format: DVD
The theme of this story is the compassion that allows close-knit, small-town Italians in the 1930's to lead a meaningful existence in the context of Fascist oppression and economic hardship.

This story is culturally valuable because it shows the beauty of meaningfully existing, unchanged, amid destructive and oppressive forces. When a peacock lands in the snow with its beautiful, vibrant blue and green feathers, it exemplifies beauty, simply existing, within harsh conditions. The point of the story is not that the characters of this small Italian town make any world-altering advances, but rather that they maintain what they already have and admire--their sense of community and individual compassion--despite oppressive odds. Fellini gives his audience mischievous adolescents, oblivious teachers, a "crazy" uncle, a humorous grandfather, an idealistic and extremely feminine beauty, a generous but sickly mother and her easily-angered husband, dissatisfied workers, a story-telling lawyer, a prince, and a lying snack vendor. And none of these characters is ever treated inhumanely, or as being of any less value than any other. The uncle has an episode in which he climbs a tree and throws rocks at people who try to get him down, all the while yelling, "I want a woman!" Hours pass and the doctor who eventually comes to get him down remarks, "He has normal days, and he has not normal days...Just like us." Through the interaction of these characters, Fellini allows his audiences to encounter a town, the families, a community, and the simple life that exists within it. This film is powerful because it is saying that one does not have to defeat oppression to be worthy of being a model, seen and honored. You have only to live, to be yourself--which means to create--to be something powerful and moving.
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17 of 18 people found the following review helpful By Daniel Garris on June 10, 2004
Format: DVD
Like 8 1/2 before it, Amarcord marks an extremely personal film for Fellini. Like his relationship to Guido in 8 1/2, the character of Titta serves as an extension of Fellini on film. Whereas Guido served as an extension of Fellini's state of mind, Titta serves as an extension of Fellini's childhood memories.
Through the retelling of emotional stories that deal with Titta and his family, Amarcord (which translates into "I Remember") presents a cyclical collage of wondrous nostalgia for the Italy of Fellini's childhood. Starting in the spring and ending their one year later with the return of the yearly "puffballs", we are presented with and touched by the many experiences that Titta comes face to face with.
At the same time, the film is much more than a mere visual presentation of Fellini's own nostalgia, for it also questions the true validity of one's own memories. This questioning of memory by Fellini is made apparent in the manner in which single scenes can go from "reality" based to fantasy-like parody back to "reality" based in a manner of moments.
One of the more noteworthy examples of this technique is the scene in which El Duce visits the local town square. In the scene the serious yet joyous procession of El Duce eventually turns into a comedic/fantasy experience in which schoolchildren are shown happily carrying guns in the imagined wedding of two schoolchildren in front of a giant talking Mussolini head. Moments later the film cuts to nightfall, in which the local Fascists soldiers wreak havoc on the town and afterwards interrogate and beat Titta's father. Depending on Fellini's own presentation of the Italian Fascists, (and just as importantly, the view in Italy towards the Fascists at that time) very different interpretations can be read of them.
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9 of 9 people found the following review helpful By Samurai Girl VINE VOICE on April 29, 2005
Format: DVD
May I confess something? Fellini is one of my favorite directors-I really could live in a Fellini film and be quite happy. I love the people, the places. Ok, sometimes not-so-nice things happen, but that's true of anybody's life, no? If I could live in Amarcord, I would go there like a shot.

Here's the confession-this is the Fellini film closest to my heart. I know we're supposed to like 8 1/2 better, or even La Dolce Vita, but Amarcord has all the bitter sweet quality of a memory told by a good friend and great storyteller, intimately, over a glass of red wine.

Hear the one about the about the old, irascible Grampa? Gramps stepped out of the house and got lost in the fog...just steps away from the front gate. Frightened and disoriented, Gramps wonders if he is alive or if he has passed over into death. Suddenly, he stops and gives a rude gesture to death, and claims, "If this is death, I don't think much of it."

Hear the one about Uncle in the looney bin? Took him out for a ride in the country, and he peed his pants. Just forgot to unzip! Then, at the farm, he climbed a tree and threw rocks at people, staying up there all day, screaming, "I want a woman!" It took a miniature nun from the asylum to get him down.

There are so many scenes of such distilled beauty, it is as if Fellini had boiled down the sauce until only the most precious elixir was left-that which was a distillation of his own life, most potent, most true.

The town beauty, the town historian, the town idiot, the town "playboy" (loser) the mother, the father, the govenment, Mussolini, Fascism, the sea, the prostitute, the boys, the fantasies of the boys, the church, the snow, the rain, the fog. I love this film truly.

The boys dancing in dreams in the fog.
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