This was written in 1982 for The Movie: An Illustrated History of the Movies in the U.K. — J.R.
Starting with Gradisca, a local beauty, lighting a torch and setting a bonfire ablaze to roast the ‘winter-witch’ and usher in the spring, and ending with the wistful farewell she bestows a year later on the randy teenage boys at her wedding while sadly tossing away her bridal bouquet, the small-town life celebrated by Amarcord is above all one of community rituals and seasonal changes. Within this basic rhythmic pattern of eternal recurrence, dreams and other fantasies play as much of a role as precise recollections.
Amarcord means ‘I remember’ in the regional dialect of Rimini (Fellini’s own hometown), and even though the director has been at pains to disclaim any specific autobiographical intent in this episodic caravan or burghers and small-town events, it is clear enough in Fellini’s work as a whole that fact and fancy are never very far apart. Amarcord is Fellini’s thirteenth feature as a director, made 20 years after his first treatment of male adolescence in I Vitelloni (1953, The Spivs), and the distance he has traveled since is largely a matter of the extent to which he has learned to trust imagination over ‘realistic’ observation.… Read more »
This was written in 1982 for The Movie: An Illustrated History of the Movies in the U.K., about a movie released the same year. — J.R.
“Little Orphan Annie,” a right-wing comic strip drawn by Harold Grey, was premiered in the New York Daily News in 1924, eventually reaching millions of people through syndication in over five hundred newspapers. In a 1937 survey this feature with its little red-headed heroine was declared the most popukar comic strip in America.
Given the parallels between the economic climate of the Eighties and the period represented in the strip, there is a temptation to translate the main political message of the film Annie as meaning, “Let ‘em eat cake” — the essential thrust, after all, of many a Thirties Depression musical, when opulent splendor was largely what the impecunious audience was paying to see (in the Broadway show, this aspect of Annie was reportedly even broader).
An attempt to liberalize the original strip to fit in with the Eighties seems to be behind a central sequence in the film in which Daddy Warbucks (Albert Finney) takes Annie (Aileen Quinn) and his personal secretary Grace (Ann Reinking) to Washington DC to meet Franklin D. Roosevelt (Edward Herman) and his wife Eleanor (Lois de Banzie); they try (with the help of Annie singing “Tomorrow”) to persuade Warbucks to run one of the “New Deal” youth employment programs.… Read more »