Amarcord - Federico Fellini
01.25.2009
Fellini's critically acclaimed account of his childhood New 35mm restoration, supervised by cinematographer Giuseppe Rotunno Opens at Nuart, Los Angeles on February 13, 2009

Landmark's Nuart Theatre, 11272 Santa Monica Boulevard, Los Angeles, (310) 281-8223
Tickets are $10.50 for general admission and $7:50 for seniors and children
Showtimes will be Fri-Mon at 1:00, 4:00, 7:00 & 9:55; Tue-Thu at 4:00, 7:00 & 9:55; tickets will be available Tuesday, February 10.

Advance ticket purchase at: http://www.landmarktheatres.com/tickets and at theatre box office.

Official Film Website: http://www.janusfilms.com/amarcord/

Janus Films presents AMARCORD, opening February 13, 2009 at Landmark's Nuart Theatre in Los Angeles showing through Thursday, February 19 for an exclusive one-week engagement. In Italian, fully subtitled in English.

AMARCORD (which means "I remember" in the Romagnolo dialect) is Fellini's ultimate work of reminiscence, drawing on memories of his hometown Rimini, a seasonal resort town located on Italy's Adriatic Sea (the same setting for his earlier classic I Vitelloni). Unfolding against the spectacles of Fascism in a completely imagined — and Cinecittà-created — world, AMARCORD moves across four seasons during the 1930s, with vignettes of town life and its inhabitants: the Fascist parade, with an enormous floral arrangement of Mussolini's face; the central character "Titta" (based on a childhood friend of Fellini's), still wearing short pants despite the painful onset of adolescence; the catastrophic family trip to the country with an uncle let out for the day from a mental hospital; bombshell "Gradisca" (Rififi's Magalí Noël), whose adopted name means "Whatever you desire"; the fat boy who hopelessly longs for an unobtainable young virgin; "Ronald Colman," the town Lothario; the local tobacconist, sporting the most mountainous breasts in the whole bosom-oriented Fellini oeuvre; the tall-tale-telling peddler, recounting the night he spent in a harem; Titta's anti-fascist father, forced to "drink" to the party; the sudden appearance of a peacock in the square amidst a freakish snowfall; and the rush to view the magical nighttime passage of the super-liner Rex—all underlined by one of the most haunting of Nino Rota's Fellini scores.

Co-written by frequent Michelangelo Antonioni collaborator Tonino Guerra (L'Avventura, Blowup, etc.) and shot in vibrant color by cinematographer Giuseppe Rotunno (The Leopard), who personally supervised this restoration, AMARCORD was one of Fellini's greatest international hits and critical successes, winning the Oscar for Best Foreign Film, the New York Critics' Best Director and Film awards, and similar honors around the world, including Japan's Best Foreign Film award.

"Fellini was more in love with breasts than Russ Meyer, more wracked with guilt than Ingmar Bergman, more of a flamboyant showman than Busby Berkeley… Amarcord seems almost to flow from the camera, as anecdotes will flow from one who has told them often and knows they work. This was the last of his films made for no better reason than Fellini wanted to make it." – Roger Ebert

"Fellini, the most honest and lovable faker who ever made a film, here presents a beautiful carnival show of the sacred things in his life." – Stanley Kauffmann, The New Republic

"Real movie magic ... Influential on many cinematic reminiscences to come." - Nicolas Rapold, The L Magazine

"An extravagantly funny, sometimes dreamlike evocation recalled by a director with a piper's command over our imaginations. A film of exhilarating beauty... as full of tales as Scheherazade, some romantic, some slapstick, some elegiacal, some bawdy, some as mysterious as the unexpected sight of a peacock flying through a light snowfall." - Vincent Canby, The New York Times

"A fun-house tour through Fellini's mind... he had mined his youth before but never with such jocularity and emotional force; it's the memoir as a montage of dirty jokes, historical ironies, sentimental educations and some of the most lyrical imagery the maestro ever concocted." - David Fear, Time Out New York

"[Fellini's] most sentimental and unabashedly romantic film ... a moving and comical masterpiece." - Axel Anderson, Flavorpill

"Even more beautiful and detailed than 8 1/2... Perhaps the most dreamlike film Fellini has ever made." – Penelope Gilliatt, The New Yorker

"No film starts more entrancingly ... Seasons make do for plots; faces, curves, and gestures serve up instant characters; epiphanies descend from nowhere, like the celebrated peacock in the snow." - Anthony Lane, The New Yorker

"Fellini at his ripest." – Time Out (London)

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The Italian Trade Commission welcomes the Italian toons at Kidscreen 2010

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