From Publishers Weekly
Documentarian Pettigrew was introduced by novelist Italo Calvino to Federico Fellini (19201993) on the set of Fellini's And the Ship Sails On (1983). In 19911992, Pettigrew shot in-depth interviews with Fellini, material later used in his documentary Fellini: I'm a Born Liar (2003). Returning to their original q&a, Pettigrew has now extracted an alphabetical compilation of quotes from Fellini's responses. With an underlying theme of creativity, it runs the A-to-Z gamut from actors ("An actor's face and body are more important to me than plot structure"), Anita Ekberg ("a glorious apparition!") and Antonioni, to clowns, death, God, guilt, Hollywood, music, puppets, vagabonds, Visconti and women, "the source of man's creativity." As screenwriter Tullio Kezich notes in his foreword, Fellini is a "matador of words." Beautiful page designs by Brankica Kovrlija are festooned with torn-paper effects and flamboyant fonts, a stylish setting to display 125 illustrations, including numerous never-before-published photographs courtesy of the Fellini Foundation and the Cineteca di Bologna. Striking sepia scrapbook photos appear alongside imaginative color images from such masterworks as Amarcord, Satyricon and Juliet of the Spirits. Amid creamy b&w stills from 8 1/2,La Dolce Vita, La Strada and others, production photos capture Fellini on Cinecittà sets, directing and gesticulating. "Real life doesn't interest me," Fellini once said. His flair for fantasy and visual poetry is evident throughout this rich, ornate volume. 125 photos.
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One reason Fellini's masterworks
La Strada, La Dolce Vita, and
8 are so memorable is that they're infused with his singular personality. Fellini's passionate, life-loving, fanciful personality is equally on display in this collection of interviews, conducted shortly before his death in 1992, that also formed the basis of the documentary
I'm a Born Liar. Segments of conversation are arranged in a topical alphabet, from "the actor's face" to "women." Besides commenting on nearly all his films, Fellini offers his views on such colleagues as Antonioni, Visconti, and Kurosawa; actor Marcello Mastroianni, composer Nino Rota, and other frequent collaborators; and such unexpected subjects as "I Ching," "LSD," and "rhinoceros milk." Most of his remarks are more whimsical than profound; for example, on the filmmaking process, "The first two weeks, I direct the film; after that the film directs me." Almost as impressive as the maestro's words are the 125 black-and-white stills and behind-the-scenes photographs that accompany them. The casual, anecdotal approach may frustrate serious cineasts, but buffs and browsers will be entertained.
Gordon FlaggCopyright © American Library Association. All rights reserved