As she explains to the editor, “I wait all week for my issue of your magazine to arrive… That’s when my real life begins.” Wanda, a hopeless romantic, lives vicariously through the magazine. An equivalent to the modern daytime soap opera, fotoromanzis were weekly magazines featuring stories of romance and high adventure in the form of photographs laid out in a comic book style. His plan to introduce Wanda to his relatives is disrupted when the bride sneaks out to meet her idol, Fernando Rivoli (Alberto Sordi), the actor who portrays “The White Sheik,” a popular fotoromanzicharacter. Wanda’s plunge into reality begins upon her arrival in Rome with her new husband, the fastidious Ivan Cavalli (Leopold Trieste), who has their two-day trip, including the consummation of their marriage, planned down to the minute. But while Guido’s fantasy life helps him attain a higher power of self-awareness, it is the shattering of Wanda’s romantic illusions that makes her realize how living out one’s fantasies is a dangerous business. Like Guido, The White Sheik‘s Wanda (Brunella Bovo) has a life-changing wake-up call when she crosses the line into the imaginary.
In this comical, sentimental tale of an ill-fated Roman honeymoon, Fellini had evidently not yet fully realized (or perhaps was in the process of working through) the vital role the imaginary plays in our lives. The fusion of the real and the imaginary is also at the center of Fellini’s first and one of his most underrated films, The White Sheik (1952). In the final scene, the two worlds are joined together as Guido reconciles his inner struggle and comes to terms with both his life and his art.
In the course of his existential search for truth and meaning in his life, Guido sifts through his childhood memories, fantasies, and dreams, which Fellini weaves into a stream-of-consciousness narrative that continually shifts between the objective or “real” world and the subjective, interior world of his protagonist’s mind. The feature starred Alberto Sordi in a revised version of Michelangelo Antonioni’s work.In Federico Fellini’s 8 1/2 (1963), Italian film director Guido Anselmi struggles to simultaneously resolve his messy personal life and break through an artistic block that’s preventing him from starting his next film. In 1951 Fellini had his first solo-directed feature Lo sceicco bianco, which he got after traveling to Paris for a script conference with Rossellini. This film came out to very poor reviews and left Lattuada and Fellini with debts to pay for over a decade and the production company bankrupt (Kezich 114).
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Fellini eventually made his director debut in collaboration with Lattuada in their 1950 film Luci del varietà, which was the first in a series of works dealing with provincial life. After this Fellini quickly became a prominent scriptwriter with his most known contribution to Italian cinema as a scriptwriter through Rossellini in films such as the 1946 Paisà. Rossellini came to Fellini to add gags to his script (Kezich 78). Rossellini came to Fellini at his Funny Face Shop, which he had opened up with Enrico De Seta, where they were living during the postwar recession drawing caricatures of American soldiers. Also high schools across the America stage perform the Broadway musical comedy Sweet Charity, which was based on the Fellini film Nights of Cabiria, which was a film about an …show more content… Rossellini engaged Fellini as a writer for Open City, which was an influential film in the Italian Neorealism movement, and earned him his first Oscar nomination for his contributions to the film (Encyclopaedia Britannica).
Federico Fellini’s influences have became such an integral part of the film industry, that some of his influences are barely even credited to him in todays society such as the word “paparazzi” which originated in his film La Dolce Vita, and became the word it means today. The filmography of Fellini included 24 titles of which won him five Academy Awards including the most Oscars in history for best foreign language film (Encyclopaedia Britannica). One of the most influential Italian cinemas film directors was Federico Fellini, who became popular after World War II.
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