Amarcord, whose title can be roughly translated to I Remember, draws heavily from Fellini’s own childhood in Rimini in the same manner that Roma, Belfast, and The Hand of Godare rooted in the autobiographical remembrances of their directors.
8½'s Guido Anselmi ( Marcello Mastroianni) is taunted by his unfaithful memories. In these films, the present seems to be inseparable from the past, with memories serving as the bifocals through which the characters view their current life. Memories, dreams, and present reality all share equal value, and as with a majority of David Lynch’s filmography or the numerous (and very literary) dream sequences found in The Sopranos, Fellini uses expressive exaggerations to symbolize a greater meaning in the characters’ psychologies. With Fellini, though, it isn’t really about discerning what’s real and what isn’t. Many of these fantastical images are bizarre psychological projections of the fears and desires of his protagonists, which can often be analyzed as stand-ins for the director himself.
The films of Federico Fellini are lathered in suds of the surreal in his movies, characters succumb to the hallucinations of fantasies, memories, and daydreams, with the language of the films themselves intentionally blurring what’s actually happening and what’s merely imagined.
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