4 Amarcord

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daniel p · #26 Post by **daniel p** » Fri Jun 16, 2006 5:51 am

filmnoir1 wrote:With the release of this new two disc edition is this going to make the single disc worthless? Is there anyone who is interested in buying my copy?

Since you put it that way, I don't think anyone in their right mind would... especially as it's in the thread for the 2 disc re-release...

jorencain · #27 Post by **jorencain** » Fri Jun 16, 2006 11:28 am

That's why I sold mine on eBay last week. I bet you could still find a buyer out there.

Narshty · #28 Post by **Narshty** » Fri Aug 18, 2006 7:44 pm

Amarcord comparison at DVDBeaver

jorencain · #29 Post by **jorencain** » Fri Aug 18, 2006 9:16 pm

That's all good, but I want to know how sharp the picture is for the cigarette vendor's gigantic tits. What's the deal, Gary? Let's see some skin!

Gigi M. · #30 Post by **Gigi M.** » Tue Aug 29, 2006 9:46 am

Back cover and spine

Gigi M. · #31 Post by **Gigi M.** » Sat Sep 02, 2006 12:59 am

DVDTALK

Michael · #32 Post by **Michael** » Fri Sep 08, 2006 4:25 pm

Christmas certainly came early. Amarcord is the most ravishing of all the Criterions released this year so far.

For those of you who dislike the new cover design, wait till you have it in your hands. When you open the case, it will open up like a mural depicting various scenes from Amarcord. I want a poster of that! I'm still swimming through the ocean of extras. Who doesn't want to live in Amarcord?

Fellini fan or not - this is must have. There is no better tribute to Fellini than this truly gorgeous set.

atcolomb · #33 Post by **atcolomb** » Fri Sep 08, 2006 4:53 pm

I did my own comparison between the 2 Criterion versions and i did noticed that the new one was alittle softer on the image but more cleaned up than the old one. The box cover art is nice and in the spirit of the movie.

planetjake · #34 Post by **planetjake** » Mon Sep 11, 2006 5:23 pm

Any comments on the new transfer? I felt it was stunning.

atcolomb · #35 Post by **atcolomb** » Mon Sep 11, 2006 6:05 pm

I thought it had a great transfer but when i compared it to the old version i noticed the new one was not as sharp but maybe because it was anamorphic?.....i do not know. The colors on the new one were brighter.

Michael · #36 Post by **Michael** » Tue Sep 12, 2006 12:34 am

Absolutely! The old transfer seems to be quite coarse while the new transfer is soft and smooth..and almost smoky, like a dream you want to disappear into. Since receiving the new Amarcord, I couldn't stop thinking about the film.

richast2 · #37 Post by **richast2** » Thu Sep 14, 2006 1:44 pm

anyone else watch the trailer? hilariously awful. it kind of felt like "here's a bunch of scenes from a movie!" admittedly, Amarcord wouldn't be the easiest movie to make a trailer for, but if you're going to have a voiceover, you could at least explain what the idea of the movie is...

Anthony · #38 Post by **Anthony** » Thu Sep 14, 2006 2:48 pm

richast2 wrote:Amarcord wouldn't be the easiest movie to make a trailer for, but if you're going to have a voiceover, you could at least explain what the idea of the movie is...

Yeah, something like... "In a world where nothing appears as it seems..." LOL

Magic Hate Ball · #39 Post by **Magic Hate Ball** » Sat Aug 25, 2007 6:48 am

I just finished watching it. Really fantastic, a lot of great stuff. The puffballs were a neat device. This is actually my very first Frederico Fellini film ever.

Cold Bishop · #40 Post by **Cold Bishop** » Sat Aug 25, 2007 9:12 am

You have a great time ahead of you playing catch up. I'd recommend I Vitelloni next, which kinda works as a prequel-sequel to Amarcord, and I actually prefer. Or you could dive right into the holy trinity (IMO) of La Dolce Vita, 8 1/2, or Juliet of the Spirits. Hell, everything Fellini is great, and I have never seen a bad film from him (although there are a few late Fellnis I haven't seen)

And I do hope you've been more generous with your Tarkovsky, Bergman, Antonioni, and Godard than Fellini.

jorencain · #41 Post by **jorencain** » Sat Aug 25, 2007 9:36 am

Well, if we're going to start recommending Fellini films, I must insist that you watch "Nights of Cabiria" next. It's such a beautiful film, and one of Fellini's best (if not THE best).

I do love "Amarcord", but like many of his later films, there are some over-the-top elements that lose me a little bit. Things like the excessively angry father are a little TOO cartoon-y for me (yes, I know that they're supposed to be). I'm not trying to attack "Amarcord", because I DO thoroughly enjoy it. I just like his earlier black and white films more.

Cold Bishop · #42 Post by **Cold Bishop** » Sat Aug 25, 2007 9:44 am

jorencain wrote:here are some over-the-top elements that lose me a little bit. Things like the excessively angry father are a little TOO cartoon-y for me (yes, I know that they're supposed to be).

Fellini could never get too self-indulgent and over-the-top as far as I'm concerned. For a man who seemed to use dreams and memories as his main source of inspiration, I think the approach fits him like a glove.

Magic Hate Ball · #43 Post by **Magic Hate Ball** » Sat Aug 25, 2007 6:04 pm

Cold Bishop wrote:You have a great time ahead of you playing catch up. I'd recommend I Vitelloni next, which kinda works as a prequel-sequel to Amarcord, and I actually prefer. Or you could dive right into the holy trinity (IMO) of La Dolce Vita, 8 1/2, or Juliet of the Spirits. Hell, everything Fellini is great, and I have never seen a bad film from him (although there are a few late Fellnis I haven't seen)

And I do hope you've been more generous with your Tarkovsky, Bergman, Antonioni, and Godard than Fellini.

I just take what's on my Netflix. The only Tarkovsky I've seen was Solaris, and it's now one of my favorite films, and with Bergman it's been Autumn Sonata and Scenes from a Marriage, which is now one of my favorite miniseries. No Antonioni or Godard yet, but I did just see Divorce Italian Style. "What happened?" "I avenged my honor!" "But...what about mine!"

Next is The Bad Sleep Well.

Michael · #44 Post by **Michael** » Sat Aug 25, 2007 6:08 pm

Things like the excessively angry father are a little TOO cartoon-y for me

I can see how the father can seem cartoony to some folks. My father and some Italian men I know (especially from southern Italy) are just as dramatic as the Amarcord father. They throw loud gestures, operatic "threats" and such.

Of all Italian directors, Fellini seems to understand the Italian, the southern Italian to be more specific, psyche the best.

The Elegant Dandy Fop · Sat Aug 25, 2007 8:09 pm

For me, maybe because I'm from a pretty much all Hispanic neighborhood (Latin culture spans many countries), all the archetypes from this film really speak aloud. I've known almost everybody from the film, hell, even I fit some of the characters. They never come off as too cartoony. That's how we are, we usually aren't very dramatic, then what would be the fun in living.

Anytime I think favorite film of all time, this is the first film to come into my mind. I have to say it, but I take Fellini over Bergman, Antonioni, and Tarkovsky any day despite them still being geniuses. Between Fellini and Godard, that's a tough one though...

Michael · #46 Post by **Michael** » Sat Aug 25, 2007 8:34 pm

For me, maybe because I'm from a pretty much all Hispanic neighborhood (Latin culture spans many countries), all the archetypes from this film really speak aloud. I've known almost everybody from the film, hell, even I fit some of the characters. They never come off as too cartoony. That's how we are, we usually aren't very dramatic, then what would be the fun in living.

My lover Pedrito would agree with everything you said. He's from a small beach town called Isabela in Puerto Rico. Fellini being my favorite director, I introduced Amarcord to Pedrito when we were dating ten years ago. That film hit right at home for him and it has remained his #1 favorite film since. He says everything about the film feels just perfect, it mirrors the memories of his life growing up in a small town by the sea emotionally and all in every way and his town had a "plaza" very much like the one in Amarcord where the townfolks met to celebrate the coming of spring with the burning of the witch, etc.

This is the kind of film that I'm not sure what to make of those who despite it. If you hate it, then you must hate life, I guess.

psufootball07 · #47 Post by **psufootball07** » Thu Jul 31, 2008 5:13 pm

The Elegant Dandy Fop wrote:For me, maybe because I'm from a pretty much all Hispanic neighborhood (Latin culture spans many countries), all the archetypes from this film really speak aloud. I've known almost everybody from the film, hell, even I fit some of the characters. They never come off as too cartoony. That's how we are, we usually aren't very dramatic, then what would be the fun in living.

Anytime I think favorite film of all time, this is the first film to come into my mind. I have to say it, but I take Fellini over Bergman, Antonioni, and Tarkovsky any day despite them still being geniuses. Between Fellini and Godard, that's a tough one though...

Amarcord is a GREAT film. I find it so heart warming in its portrayal of its characters. But as a whole I would take Bergman over Fellini no question. I dont even think the best Godard films are at the same level that Bergman and Fellini reached. Breathless and Vivre sa Vie are great, but I would watch some of the lesser Bergman films like The Virgin Spring or Sawdust and Tinsel before any of Godards work. The fact is in depth of great films I dont think anyone comes close to Ingmar Bergman.

jbeall · #48 Post by **jbeall** » Thu Jul 31, 2008 7:06 pm

Michael wrote:This is the kind of film that I'm not sure what to make of those who despite it. If you hate it, then you must hate life, I guess.

Let me first say that I didn't hate the film, although I didn't like it that much the first time I watched it (a second viewing brought me around). I suspect that people who don't like this film feel that way because it's more a series of vignettes than a single, coherent plot. This film, like so much arthouse dismissed as "pretentious," simply doesn't conform to narrative expectations, certainly not in the way La Strada does. To take an example, the fascism strand of the plotline doesn't receive any closure; it's just dropped, as is the character of Volpina. So there are plot elements that you become invested in and develop narrative expectations for, and Fellini simply doesn't return to them.

Anyway, Amarcord is hardly the only film in the Criterion Collection that doesn't follow a predictable plot... I'm just suggesting a reason why some have disliked this film, b/c this was certainly the most off-putting aspect of it for me the first time around.

psufootball07 · #49 Post by **psufootball07** » Thu Jul 31, 2008 7:32 pm

The Fascism was brought up again with the marriage at the end. It was really sad that she left with the Fascist leaders, and maybe would visit the town again? The marriage is the end for her, and is extremely moving when no one catches her bouqet of flowers.

LightBulbFilm · #50 Post by **LightBulbFilm** » Fri Aug 01, 2008 4:13 am

Good to see you here psu, but I wish you would use the spoiler tags.

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