The latest audiovisual work of Federico Fellini (Rimini, 1920 – Rome, 1993) adds six minutes 10 seconds, and was not filmed for the cinema: these are the three advertisements he directed in 1992 for the Bank of Rome, and that illustrated a man’s repentance for a dream extramarital affairs . A clear summary of the personality of the filmmaker, whose career was based on an enormous baroque extravagance thanks to extraordinary visual designs and his drive for the dream (“dreams are the only reality,” he said), and a love for the human being. Fellini belonged to a generation of unbridled artists in life and in his career, such as Orson Welles, Sergio Leone or John Huston, which Anglo-Saxons define as bigger than life, characters that today are almost unparalleled.
Fellini had no artistic heirs. But his work can be traced in the influences of other creators. Like the Italians Matteo Garrone Y Paolo Sorrentino. The first one embraces the fellinianismo in Reality Y The story of the stories and shows part of that love for the characters in Dogman For his part Sorrentino thanked the Oscar, among others, Fellini. And of course, the wild and decadent parties of the film for which he received the award, The great beauty, they are daughters of the Rome that their teacher portrayed. The same would be valid for Silvio (and the others) and even for the series The young Pope. Roberto Benigni, who as an actor worked on The voice of the moon (1990), Fellini’s latest feature film, has failed as a director to approach Fellini, despite his attempts.
The Spanish Jordi Grau, Fellini’s friend, he didn’t pick up Fellini’s legacy in his filmography either. Yes, the Slovak has done it Juraj Jakubisko, usual at film festivals in the seventies and eighties, and whose The ancient bee (1983) illustrates the saga of the Pichanda family and their three generations of masons (from 1887 to 1917) creating a parallel with a community of bees in a hive. Jakubisko’s latest movie, The Countess of Blood (2008), on the other hand, was channeled in the opposite direction.
Other creators might also seem fellinians for their past moments of tone. David Lynch or Emir Kusturica they have approached the visual excess of Italian, although coming from worlds far removed from Fellini, such as surrealism. Instead, Álex of the Church He has sublimated themes and formal brushstrokes of the teacher, absorbed from films such as The Strada, in movies like Dead laughing Y Sad Ballad of Trumpet, probably the most fellinian film not shot by Fellini. There is madness, clowns, extravagance, sex, violence, defiance and absolutely human and carnal characters. And if Fellini was a very Italian creator, De la Iglesia creates a very Spanish fresco that goes through the Civil War and ends at the gigantic cross of the Valley of the Fallen.
In order to compare and remember, both the Spanish Film Library and the Filmoteca de Catalunya They are showing their movies. The Catalunya, in addition, will exhibit since February a dozen drawings by Fellini and a series of lithographs created by David Lynch to honor the filmmaker.