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CALSCALE:GREGORIAN
X-WR-CALNAME:SUNDAYS AT THE U WITH MOVIES: "I VITELLONI" (1953)
X-WR-TIMEZONE:Eastern Time (US & Canada)
BEGIN:VEVENT
DTSTAMP:20261007T224129Z
UID:tag:localist.com\,2008:EventInstance_52381624006416
DTSTART:20260322T170000Z
DTEND:20260322T190000Z
DESCRIPTION:Join us at 1 p.m. Sunday\, March 22\, for a screening of "I vit
 elloni\," director Federico Fellini's Oscar-nominated 1953 classic about f
 ive young Italian men at crucial turning points in their small-town lives.
 \n\n \n\n \n\nFederico Fellini’s second outing as a solo director yielde
 d his first commercial success\, a clear-eyed portrait of five young men l
 ingering in a postadolescent limbo\, dreaming of adventure and escape from
  their small coastal town.\n\n \n\n \n\nDrawing on memories tucked between
  the childhood nostalgia of "Amarcord" and the big-city hangover of "La do
 lce vita\," Fellini crafts a semiautobiographical masterpiece of sharply d
 rawn character sketches: of skirt-chasing Fausto\, forced to marry a girl 
 he has impregnated\; Alberto\, the perpetual child\; Leopoldo\, a writer t
 hirsting for fame\; and Moraldo\, the conscience of the group.\n\nAn Oscar
  nominee for best original screenplay\, "I vitelloni" captures the lassitu
 de and longing of its protagonists with comic insight and compassion.\n\n 
 \n\n \n\n \n\n \n\n"In the long dream of image and spectacle that was Fede
 rico Fellini’s career\, "I Vitelloni" occupies a nodal point. Filmed in 
 1953\, between the brilliant but somewhat superficial "The White Sheik" (1
 952) and his first fully characteristic work\, "La Strada" (1954)\, "I Vit
 elloni" marks a big step forward in Fellini’s ability to get deep into h
 is characters’ psychology\; it points ahead both to the bitter social sa
 tire of "La Dolce Vita" (1960) and to the great canvases of nostalgia and 
 the artist’s nature\, "8 1/2" (1963)\, "Amarcord"—and the neglected la
 te masterpiece "Intervista" (1987).\n\n \n\n \n\n"In terms of technique\, 
 "I Vitelloni" may be the least “Felliniesque” of the director’s majo
 r films. It makes far less use of the odd foreshortenings\, the unexpected
  close-ups\, the expert manipulation of relations between foreground and b
 ackground that formed so much of Fellini’s expressive vocabulary\, and t
 here are fewer of the gargoyles and dreamlike surreal characters that popu
 late his most recognizable work. In places the camera work is uncharacteri
 stically static\, as in the early scenes in which Fausto prepares to leave
  his father’s house after learning that Sandra is pregnant.\n\n \n\n \n\
 n"Yet despite its relatively conventional technique\, I Vitelloni takes th
 e first definitive plunge into many of Fellini’s dominant thematic and i
 magistic preoccupations: arrested development in men\, marriage and infide
 lity\, the life of provincial towns versus the city\, the melancholy and m
 ystery of deserted nighttime streets\, the seashore\, the movies themselve
 s. Many of these themes and major images can be found in somewhat germinal
  form in "The White Sheik\," and even to some degree in "Variety Lights." 
 But in "I Vitelloni" they move from being accessories to the action to bei
 ng the heart of the matter. -- Tom Piazza\n\n \n\n \n\nTickets are $6 and 
 available at the link above. UM students use code UMSTUDENT at checkout fo
 r free admission. Cane cards must be shown at the door.
GEO:25.722709;-80.276887
LOCATION:Bill Cosford Cinema\, Dooly Memorial 225
SUMMARY:SUNDAYS AT THE U WITH MOVIES: "I VITELLONI" (1953)
URL;VALUE=URI:https://events.miami.edu/event/sundays-at-the-u-with-movies-i
 -vitelloni-1953
CATEGORIES:Performance/Screening
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