Journal of Film Preservation - FIAF

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mémoires, italiens ou étrangers, accompagnent quelque 500 ouvrages de toutes origines consacrés à Fellini et à son œuvre. Le fonds comprend aussi les originaux des partitions (plus cahiers et notes) de Nino Rota, le compositeur fétiche de Fellini. Créée pour « conserver, mettre en valeur et transmettre la mémoire historique de Federico Fellini », la Fondation organise également des cycles de projections (pour les écoles et le grand public), une rétrospective estivale en plein air et un colloque international, chaque mois d’octobre. It is self-evident how valuable this material is, because of the statements, often divergent, that Fellini used to make about his life and work. In the same way, the TV reports on a new movie or a prize received, have importance for those who wish to understand the complete personality of the film-maker; the same is true for the several documents filmed by those personalities who had a continuous relationship or a real friendship with Fellini, such as Sergio Zavoli, who captured some of the Maestro’s peculiarities regarding his life and creativity. Concerning the backstage shorts, they could be considered as exceptional complements to the related movies, but also formidable keys to understanding them fully, because they show the director at work. Among those in the Archive, I would highlight at least Diario segreto di Amarcord, shot by Fellini’s collaborators. Among the “secrets” revealed by the film is Sandra Milo’s audition to play Gradisca. There is also Verso la luna con Fellini, filmed with passion and ability by Eugenio Cappuccio. And there is Ciao Federico, shot by Gideon Bachmann on the set of Satyricon. The same significance applies to the photographic heritage of the Archive - two thousand photos and slides. Those taken on the movie sets, during public events and, above all, those that were intended to be part of a movie that was suppressed or never shot, obviously are of particular importance. The “private” pictures depicting Fellini before his artistic adventure, or when he was a child, with his relatives and friends, have a peculiar relevance. The Fellini family, an organic part of the Fondazione, has a large number of these kinds of pictures. The family also owns a collection of drawings that has no equal, made by Fellini from his primary to his secondary school years. From childhood, Federico showed a great aptitude for drawing, illustrating the compositions that the teacher assigned. The same aptitude was even more clearly apparent during the secondary school years, when he used to portray – with different techniques – actors and actresses. As everybody knows, in those years Fellini used to do caricatures of movie stars for the owner of the cinema Fulgor: today, eleven of those caricatures are held by the Fondazione. However, even in Rome drawing was his primary occupation. He contributed to ’Aurelio’, the most widely distributed satirical magazine of the time, and produced many vignettes, stories, etc. In the Fondazione’s Archive there is a rich collection of the magazine, about five hundred issues, from January 1939 until September 1943. Even more relevant is the collection of drawings kept by the Fondazione, which represents another expression of the artistic verve that remained with Fellini during his entire life, up until his last days in hospital. The collection is composed of about four hundred pieces, realized with different techniques, created during the period of his work as a director. About one hundred of them are related to his movies, and for this reason they assume a greater philological value. Fellini’s habit of giving instructions to his collaborators through his drawings has already been mentioned. These plates have a great importance even when the depicted spaces or situations are not in the 68 Journal of Film Preservation / 67 / 2004
Fellini during the shooting of Paisa Courtesy of Cinémathèque Suisse, Lausanne final version of the movie, because thanks to them we can better analyze the work and try to catch the creative cues that the author decided not to develop. Obviously, the other drawings in the collection are no less important - for their artistic significance, for their relationship to facts, situations and people that were pertinent to Fellini’s life, or for the influences on his movies that they express. Think, for instance, of the drawings – numbering about fifty - that the Municipality of Rimini purchased from Ennio Flaiano’s heirs and gave to the Fondazione; or the spontaneous illustrations sketched by Fellini on restaurant napkins while he was eating and chatting with his friends. All the drawings, already catalogued and scanned, can be seen using a PC. In special cases, it is possible to examine the originals, whilst observing the usual precautions. The Archive also owns fifteen sketches on canvas by Antonello Geleng – the son of Rinaldo, one of Fellini’s most regular collaborators. They were drawn for the RAI movies L’attore and L’inferno, projects never realized. The Fondazione also has some of the sketches done by Fellini and then developed by Geleng. This is another example of the special relationship between Fellini and his collaborators, some of them his close friends. In this case, the friendship with Rinaldo Geleng began during Fellini’s first years in Rome, when the Maestro befriended the whole family: Giuliano, Antonello’s brother, also worked on one of his movies. There are canvases and sketches (a total of nine) relating to Amarcord, Roma, Il Casanova and Ginger e Fred. The sketch of Amarcord kept by the Fondazione is the most famous, used to invite people to the cinema from the city walls. 69 Journal of Film Preservation / 67 / 2004
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Journal of Film Preservation 67 •
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News from the Archives / Nouvelles
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Invité à intervenir dans le cadre
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The Cinematograph in Prague, 1908 T
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The projectionist’s skills are es
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