AKA Fellini’s Roma
“Rome was a poem pressed into service as a city.”–Anatole Broyard
FEATURING: Peter Gonzales Falcon
PLOT: Roma is a series of vignettes, some relatively realistic and some fantastic, about the city of Rome. The closest thing to a plot are the scenes involving Fellini himself, who dreams about the city as a young man, comes there as a teen, and then is seen making a movie about the city as an adult. Other segments involve a bawdy street meal, a vaudeville show during World War II, modern hippies drifting through Rome, a pair of brothels, and the infamous ecclesiastical fashion show.
- Fellini came to Rome from Rimini as an 18-year old to go to law school, although he quickly abandoned that pretense to pursue an artistic career path. Although it seems clear that Fellini means for the young provincial boy who dreams of Rome and the young man who steps off the train and into a Roman pensione to be his stand-ins, the director never makes this explicit. United Artists asked for voiceover narration to make this identification clear in the version that played in the U.S.
- The film was shortened by nine minutes (to a running time of two hours) for its international release, and some changes were made for different markets. Slightly different cuts have circulated for years, and there is no restored print of the original Italian version, although the extra footage survives in workprints. Among the deleted scenes was one where appeared as himself.
INDELIBLE IMAGE: The star image here could not be something other than an offering from the ecclesiastical fashion show. Candidates include the bishops’ uniforms with blinking stained glass patterns and a shrouded skeletal “memento mori” carriage that shows up the end of the procession. We’ll select the grand finale, the appearance of a glowing, flying Pope cast as a pagan sun god, with electronic sunbeams streaming behind his beatifically beaming countenance.
THREE WEIRD THINGS: Horse on the highway; fading frescoes; light-up miter
WHAT MAKES IT WEIRD: The speedy editing of the U.S. release trailer misleadingly emphasizes the decadent aspects of Fellini’s Roma, making it look like a trippy sequel to Satyricon for the pot-smoking college midnight movie crowd. In truth, while Roma is experimental and disorientingly non-linear, it’s greatly restrained compared to its psychedelic predecessor. Most of the sequences are only subtly strange, pitched in the almost-realistic register of Fellini’s next film, Amarcord. Or at least, that’s the case up until the fashion show, when Fellini ignites the film with a surreal, blasphemous brand. This grand vaudeville sequence, which lasts over 15 minutes, catapults the film from a borderline curiosity from an innovative master to an acknowledged staple of the weird canon.
American release trailer for Roma
COMMENTS: Rome is the eternal city, once the seat of Europe’s Continue reading 263. ROMA (1972)