Fellini said that to limit one’s admiration to his early films was simply an example of “arrested development”. Masina worked for her husband regularly throughout his career, playing a prostitute in Le Notti Di Cabiria (1956), a bored housewife in the gorgeous Giulietta Degli Spiriti (1965), and as an older but still spry Ginger in Ginger & Fred (1986).įellini’s later work has always divided film fans.
They married and she served as his muse, playing Gelsomina in La Strada (1954) a Fellini cartoon brought heartbreakingly to life. In 1943, he met Giulietta Masina, one of his greatest influences. He also opened a small shop where he produced little drawings, portraits and caricatures for American GIs. This experience provided the background material for Fellini’s very first feature, Luci Del Varieta (1950). He was soon to leave for bigger things in Rome, where during World War II, he found work with a music-hall comedian, Aldo Fabrizi, serving as a costume and scenery designer, personal secretary and actor.
When he was 18 years old, he moved to Florence to work as a cartoonist for a comic book publisher, an experience that he would use as inspiration for the delightful comedy Lo Sceicco Bianco (1952). They were so similar that there was something instinctual between them.” “ You couldn’t tell where Fellini ended and Mastroianni began. They quarreled frequently, yet Mastroianni’s embodiment of Fellini in his autobiographical work 8 1/2 demonstrates an intimate intertwining between the two artists. Fellini, in attaching this ideal masculine image to Mastroianni also fostered a friendship and collaboration based on “ true, total, mutual distrust“. Mastroianni became an icon and symbol of Italian masculinity, an image that the public did not want him to break free from. Mastroianni wrote that acting in Fellini’s work was “… the best period of my life as an actor and as a man“. Mastroianni, photo via YouTube screen-grab But, mostly he used an alter-ego, most famously handsome Marcello Mastroianni who starred in La Dolce Vita (1959), 8 1/2 (1963), La Citta Delle Donne (1980), and Ginger & Fred (1986). I grew to adore his films and also Fellini himself, and his world circuses and comic strips and cardinals and carnivals.įellini even appeared as an actor in some of his films: I Clowns (1970) and Roma (1972) come to mind. Fellini is a fine example of an artist capable of transforming himself into a work of art, a man who turned his own personality into a film.
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