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AMARCORD, Portrait of a Town
AMARCORD is based on a movie directed by Federico Fellini. Distributed by Roger Corman and New World Pictures. The book is 142 pages and includes 16 pages of pictures from the movie.
- GenresFilm
142 pages, Paperback
First published January 1, 1973
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About the author
Federico Fellini
197 books163 followersFederico Fellini was an Italian film director and screenwriter known for his distinctive style, which blends fantasy and baroque images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time. His films have ranked highly in critical polls such as that of Cahiers du cinéma and Sight & Sound, which lists his 1963 film 8 1⁄2 as the 10th-greatest film.
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Displaying 1 - 9 of 9 reviews
February 1, 2019
فلینی در سال 1973 آمارکورد را ساخت. بر اساس داستانی به نام " آمارکورد ( تصویر یک شهر) " از خودش و تونینو گوئرا که تصویری از دوران کودکی فلینی در ایتالیای دوران حکومتِ فاشیست ها بود. بدونِ شک گوئرا یکی از بزرگ ترین فیلمنامه نویسان تاریخ سینمای جهان است. او به غیر از همکاری های متعدد با فلینی با بزرگان دیگری همچون آنتونیونی، تارکوفسکی، آنجلوپولوس، برادران تاویانی، دسیکا، فرانچسکو رزی و تورناتوره هم همکاری داشت که می توان به نوشتن فیلمنامه هایی همچون نگاه خیره اولیس، گام معلق لک لک، نوستالژی، آگراندیسمان، سه برادر و صحرای سرخ اشاره کرد.
فلینی و گوئرا در سراسر کتاب ما را در شهر می چرخانند و ما را با فضای سیاسی حاکم بر جامعه، فضای آموزشی در مدارس و تمایل شدید جنسی مردم آشنا می کند. در فیلم شاهد همان ساختارِ اپیزودیک رمان هستیم. عمده تفاوت کتاب و فیلم در صراحت جنسی آن است. شوخی های جنسیِ درون کتاب صریح و بی پرده است (مترجم در مقدمه مخاطب را آگاه می کند که در رمان به کلماتی بر می خورد که به ظاهر چندان مراعات ادب در آن ها نشده است، اما او به واسطه وفاداری آن ها را عینا ترجمه کرده است) اما این در فیلم نشان چندانی از این صراحت نمی بینیم و در بعضی سکانس ها شوخی های جنسی تعدیل شده است.
انتشارات کتاب زمان در سال 1354، آمارکورد را با ترجمه مهین دانشور وارد بازار کرد. کتابی با تیراژ 2000 تایی که هرگز به چاپِ دوم نرسید.
فلینی و گوئرا در سراسر کتاب ما را در شهر می چرخانند و ما را با فضای سیاسی حاکم بر جامعه، فضای آموزشی در مدارس و تمایل شدید جنسی مردم آشنا می کند. در فیلم شاهد همان ساختارِ اپیزودیک رمان هستیم. عمده تفاوت کتاب و فیلم در صراحت جنسی آن است. شوخی های جنسیِ درون کتاب صریح و بی پرده است (مترجم در مقدمه مخاطب را آگاه می کند که در رمان به کلماتی بر می خورد که به ظاهر چندان مراعات ادب در آن ها نشده است، اما او به واسطه وفاداری آن ها را عینا ترجمه کرده است) اما این در فیلم نشان چندانی از این صراحت نمی بینیم و در بعضی سکانس ها شوخی های جنسی تعدیل شده است.
انتشارات کتاب زمان در سال 1354، آمارکورد را با ترجمه مهین دانشور وارد بازار کرد. کتابی با تیراژ 2000 تایی که هرگز به چاپِ دوم نرسید.
January 17, 2023
Quando ero piccola mio babbo, dopo aver ascoltato per decine di volte una storia da me raccontata (raccontavo sempre le stesse), sorrideva e diceva "amarcord".
Ricordo di avergli chiesto cosa significasse, aver sentito che voleva dire "mi ricordo", ma non aver mai capito fino in fondo cosa volesse dire né da quale lingua venisse. Mi piaceva però quell'espressione tra noi e mi sentivo potente a sapere una parola che i miei coetanei non sapevano.
Per anni durante le interrogazioni delle elementari in inglese mi sono vantata di saper coniugare il verbo "ricordare" al presente.
I amarcord
You amarcord
He/she/It amarcords
We amarcord
You amarcord
They amarcord
Ricordo di avergli chiesto cosa significasse, aver sentito che voleva dire "mi ricordo", ma non aver mai capito fino in fondo cosa volesse dire né da quale lingua venisse. Mi piaceva però quell'espressione tra noi e mi sentivo potente a sapere una parola che i miei coetanei non sapevano.
Per anni durante le interrogazioni delle elementari in inglese mi sono vantata di saper coniugare il verbo "ricordare" al presente.
I amarcord
You amarcord
He/she/It amarcords
We amarcord
You amarcord
They amarcord
August 1, 2023
Obra maestra nostálgica que invita a sumergirse en la Italia de 1930. Los personajes son realmente entrañables. El libro, un testimonio de la genialidad de Fellini.
August 5, 2025
Amarcord written and directed by Federico Fellini
Federico Fellini was one of the gods of Italian and World Cinema, the genius who gave audiences:
La Dolce Vita, The Nights of Cabiria, 8 ½,, Juliet of the Spirits, La Strada, I Vitelloni, Satyricon and other masterpieces, including the celebrated Amarcord.
This feature has won the Academy Award for Best Foreign Language Film, was nominated for Oscars for Best Director and Best Writing, Original Screenplay, golden Globe and so many other prizes.
Amarcord is an allegorical narrative, with humorous and tragic characters, humor and the horror of the Italian fascist disease, personages that are crazy, others that are simply amusing and endearing.
This is the late 1930s and there are incidents connected with the Benito Mussolini regime, one in which one character is called in and questioned, first on why he is not using the Roman salute, then about a supposed reference he made to the dictator and the poor suspect has to insist he is not interested in politics.
Amusement is also combined with outrage, or at least a feeling of revulsion, as when the story of the thirty concubines, arriving at the hotel is told, with their abusive male guards, who use cans and keep them wrapped in what looks like the Muslim hijab.
However, the prisoners get out at night on the balcony, at least three on one side and another three on the other and start calling a local man, who has tied bed sheets to climb on and then pretends he ravaged twenty-eight of the ladies.
Leopardi and Dante are discussed, one personage is asking if the interlocutor has heard of the former and then makes sure that he connects him with the much more famous Dante Alighieri, one of the best writers of humankind, and then places Leopardi right under Dante, only to push him higher and closer to the giant in a second instance.
Some of the jocularity can be seen as primitive or charming, simple and part of the daily fare of uneducated, ordinary folk like grandpa, who keeps whistling and making some rude gestures with his fisted hand, supposed to suggest sexual intercourse- which he has done so much of in his youth- and then makes other crude jokes like… a man has to piss often to be in shape.
Alas, after such a session, with wise cracks, he pees on his pants.
Titta seems to be the hero of the motion picture and his whole family, the relatives have supporting roles, from the mad uncle Teo, to Aurelio Biondi, the grandfather who brags about his own father’s father: “My father's father was known as "Big Meat." He lived to be 107 and he was still doing it!
[Whistle, whistle, whistle, whistle, whistle, whistle, whistle]
At one point, uncle Teo climbs up a large, tall tree and starts shouting that he wants a woman and does not stop for a long time, throwing stones at his family, even if they agree with him…at his age, it makes sense to want a woman- and the grandfather adds his usual gestures and whistles after the agreement.
Titta has to see the Father Balosa, the Catholic priest, for confession and some talking down, which refers to the very serious sin of touching himself- on this note, this wrong idea is one reason why Nathaniel Branden, one of the greatest psychologists considers that The Psychological Effects of Religion are all negative.
The hero thinks of the woman in the tobacco shop “ stacked as she is” and the math teacher “who looks just like a lion”, ending up in a sexual relationship with the former, who gives him the big breasts and the younger partner approaches this moment like a suckling baby.
Another personage has reflections that are much less humorous, if at all, and cause on the contrary chagrin, grief and sadness:
“I want one of those long encounters that last a lifetime. I want a family, children, a husband to chat with in the evenings over coffee, maybe, and to make love with now and then, because when you must, you must. But affection is even more important than love. I'm so full of affection. But who can I give it to? Who wants it?”
There are also thoughts of death, like those uttered at one stage by the generally positive, always active- at least in his own words- grandpa:
“Where am I? I don't seem to be anywhere. If death is like this, I don't think much of it. Everything's gone. People, trees, birds, wine. Well, up yours!”
And there are so many beautiful images, like the peacock in the snow, the white powder itself, falling for days on the city, the grotesque, outré figures populating the scenes in this magic film.
The New York Times included Amarcord on its list of Best 1,000 Movies Ever Made:
https://www.listchallenges.com/new-yo...
Federico Fellini was one of the gods of Italian and World Cinema, the genius who gave audiences:
La Dolce Vita, The Nights of Cabiria, 8 ½,, Juliet of the Spirits, La Strada, I Vitelloni, Satyricon and other masterpieces, including the celebrated Amarcord.
This feature has won the Academy Award for Best Foreign Language Film, was nominated for Oscars for Best Director and Best Writing, Original Screenplay, golden Globe and so many other prizes.
Amarcord is an allegorical narrative, with humorous and tragic characters, humor and the horror of the Italian fascist disease, personages that are crazy, others that are simply amusing and endearing.
This is the late 1930s and there are incidents connected with the Benito Mussolini regime, one in which one character is called in and questioned, first on why he is not using the Roman salute, then about a supposed reference he made to the dictator and the poor suspect has to insist he is not interested in politics.
Amusement is also combined with outrage, or at least a feeling of revulsion, as when the story of the thirty concubines, arriving at the hotel is told, with their abusive male guards, who use cans and keep them wrapped in what looks like the Muslim hijab.
However, the prisoners get out at night on the balcony, at least three on one side and another three on the other and start calling a local man, who has tied bed sheets to climb on and then pretends he ravaged twenty-eight of the ladies.
Leopardi and Dante are discussed, one personage is asking if the interlocutor has heard of the former and then makes sure that he connects him with the much more famous Dante Alighieri, one of the best writers of humankind, and then places Leopardi right under Dante, only to push him higher and closer to the giant in a second instance.
Some of the jocularity can be seen as primitive or charming, simple and part of the daily fare of uneducated, ordinary folk like grandpa, who keeps whistling and making some rude gestures with his fisted hand, supposed to suggest sexual intercourse- which he has done so much of in his youth- and then makes other crude jokes like… a man has to piss often to be in shape.
Alas, after such a session, with wise cracks, he pees on his pants.
Titta seems to be the hero of the motion picture and his whole family, the relatives have supporting roles, from the mad uncle Teo, to Aurelio Biondi, the grandfather who brags about his own father’s father: “My father's father was known as "Big Meat." He lived to be 107 and he was still doing it!
[Whistle, whistle, whistle, whistle, whistle, whistle, whistle]
At one point, uncle Teo climbs up a large, tall tree and starts shouting that he wants a woman and does not stop for a long time, throwing stones at his family, even if they agree with him…at his age, it makes sense to want a woman- and the grandfather adds his usual gestures and whistles after the agreement.
Titta has to see the Father Balosa, the Catholic priest, for confession and some talking down, which refers to the very serious sin of touching himself- on this note, this wrong idea is one reason why Nathaniel Branden, one of the greatest psychologists considers that The Psychological Effects of Religion are all negative.
The hero thinks of the woman in the tobacco shop “ stacked as she is” and the math teacher “who looks just like a lion”, ending up in a sexual relationship with the former, who gives him the big breasts and the younger partner approaches this moment like a suckling baby.
Another personage has reflections that are much less humorous, if at all, and cause on the contrary chagrin, grief and sadness:
“I want one of those long encounters that last a lifetime. I want a family, children, a husband to chat with in the evenings over coffee, maybe, and to make love with now and then, because when you must, you must. But affection is even more important than love. I'm so full of affection. But who can I give it to? Who wants it?”
There are also thoughts of death, like those uttered at one stage by the generally positive, always active- at least in his own words- grandpa:
“Where am I? I don't seem to be anywhere. If death is like this, I don't think much of it. Everything's gone. People, trees, birds, wine. Well, up yours!”
And there are so many beautiful images, like the peacock in the snow, the white powder itself, falling for days on the city, the grotesque, outré figures populating the scenes in this magic film.
The New York Times included Amarcord on its list of Best 1,000 Movies Ever Made:
https://www.listchallenges.com/new-yo...
October 10, 2024
the cinema & and media studies minor in me enjoyed this! I love the Fellini films I’ve seen, and it was intellectually interesting to read his own novelization of one of his movies.
It’s definitely easy to tell that he is a visually motivated person—there’s beautiful imagery here but not much, if any, emotional connection. This was a portrait of a small town in Italy during the fascist regime and the small ways ordinary people rebelled against it, usually through their own determined whimsy, a rebellion strategy which obviously compelled me.
The castor oil scene and Bobo’s confession to the priest stood out to me—I feel like I’ve had to watch those scenes in class or something, and I felt like I really only understood the character portrait of Italy and that Fellini was going for in those two chapters.
Naturally, this reminded me a lot of Elena Ferrante’s cast of characters in the “my brilliant friend” quartet. On the same token, though, Fellini demonstrates a lot of the oftentimes violent misogyny of mid-century Italy that Ferrante rails against in her novels—there’s a lot of booby-grabbing in this, for lack of a better term.
It’s definitely easy to tell that he is a visually motivated person—there’s beautiful imagery here but not much, if any, emotional connection. This was a portrait of a small town in Italy during the fascist regime and the small ways ordinary people rebelled against it, usually through their own determined whimsy, a rebellion strategy which obviously compelled me.
The castor oil scene and Bobo’s confession to the priest stood out to me—I feel like I’ve had to watch those scenes in class or something, and I felt like I really only understood the character portrait of Italy and that Fellini was going for in those two chapters.
Naturally, this reminded me a lot of Elena Ferrante’s cast of characters in the “my brilliant friend” quartet. On the same token, though, Fellini demonstrates a lot of the oftentimes violent misogyny of mid-century Italy that Ferrante rails against in her novels—there’s a lot of booby-grabbing in this, for lack of a better term.
December 2, 2024
It's HARD to evaluate such a personally conceived text after the reader has seen the film several times and logically loves it, but as a script I liked the work too and very much. It's a fond and truthful recollection of bits and pieces of what sticks in one's mind years later, with an appropriate degree of hyperbole, situational humor, well-constructed situations, and subtly but precisely fitting pieces of construction that hold the individual impressions, the stories, together beautifully.
April 7, 2023
See oli üks neist raamatuist, mida lugedes kummitas kuklas koguaeg "WTF ma just lugesin" tunne. Aga - kuigi see raamat oli haigemast haigem, ma tõesti nautisin seda. Eks vist kipu nii olema, et mida rohkem loed, seda rohkem rõõmustad, kui mõni raamat suudab täiesti üllatada.
Järelsõnast tuli välja, et tegu on Frederico Fellini Oscariga pärjatud filmiga. Vot seda tahaks küll näha!
Kuna ma filmi näinud ei ole, siis ei tea kindlalt öelda, aga mulle tundub, et tegu ei olnud otseselt stsenaariumi, vaid filmi alusel kirja pandud tegevuste ja emotsioonidega. Umbes nagu ümberjutustus või nii.
Fellini enda sõnul peaks see lugu peegeldama tavalist elu 1935. aasta fašistlikus Itaalias. Igatahes oli seal palju peeretamist, kusemist ja kättesaamatute unistuste poole püüdlemist. Mine tea, ehk oligi elu selline - kuigi usun, et eelkõige jutustasid lugu emotsioonid, mitte niivõrd konkreetsed tegevused.
Mõned väljavõtted ka:
---
(Carlini otsib kuivkäimla vedela ja paksu sisse sukeldudes krahvinna sõrmust): "Kes teab, kust see vastikus sita vastu. - See on niisamuti meie produkt nagu mõttedki!"
---
Tallisa mängivad Bobo ja ta vend eesliga. Poisid toksivad luuavarrega looma munade pihta. Nad naeravad. Eesel lööb takka üles, kabjahoobid lähevad aina raevukamaks. Läbi väikese ukse talli tagaseinas on näha tibudega kana mööda minemas. Bobo kutsub venda.
"Tule. Situme siia ja pühime siis tibudega perset."
Nad jooksevad uksest välja. Kumbki püüab kinni kolm-neli tibu.
---
"Sa meeldid mulle."
"Sitta ma sulle meeldin."
"Sa oled ilus."
"Persse see ilu."
Järelsõnast tuli välja, et tegu on Frederico Fellini Oscariga pärjatud filmiga. Vot seda tahaks küll näha!
Kuna ma filmi näinud ei ole, siis ei tea kindlalt öelda, aga mulle tundub, et tegu ei olnud otseselt stsenaariumi, vaid filmi alusel kirja pandud tegevuste ja emotsioonidega. Umbes nagu ümberjutustus või nii.
Fellini enda sõnul peaks see lugu peegeldama tavalist elu 1935. aasta fašistlikus Itaalias. Igatahes oli seal palju peeretamist, kusemist ja kättesaamatute unistuste poole püüdlemist. Mine tea, ehk oligi elu selline - kuigi usun, et eelkõige jutustasid lugu emotsioonid, mitte niivõrd konkreetsed tegevused.
Mõned väljavõtted ka:
---
(Carlini otsib kuivkäimla vedela ja paksu sisse sukeldudes krahvinna sõrmust): "Kes teab, kust see vastikus sita vastu. - See on niisamuti meie produkt nagu mõttedki!"
---
Tallisa mängivad Bobo ja ta vend eesliga. Poisid toksivad luuavarrega looma munade pihta. Nad naeravad. Eesel lööb takka üles, kabjahoobid lähevad aina raevukamaks. Läbi väikese ukse talli tagaseinas on näha tibudega kana mööda minemas. Bobo kutsub venda.
"Tule. Situme siia ja pühime siis tibudega perset."
Nad jooksevad uksest välja. Kumbki püüab kinni kolm-neli tibu.
---
"Sa meeldid mulle."
"Sitta ma sulle meeldin."
"Sa oled ilus."
"Persse see ilu."
August 21, 2007
Nostalgia the best! Also it was a great movie.
May 31, 2025
Insulso pero rápido de leer.
Displaying 1 - 9 of 9 reviews