GINGER AND FRED

Italy, 1986, 126 minutes, Colour.
Giuletta Masina, Marcello Mastroianni.
Directed by Federico Fellini.

Ginger and Fred is mellow Federico Fellini. Made in the mid-'80s, this film shows a Fellini still interested in the unusual aspects of Italian life and culture and heritage, but offering a more gentle spoof.

The title refers, of course, to Ginger Rogers and Fred Astaire. Two elderly Italians had been dancers during World War Two and had received these nicknames. They are being called back in the mid-'80s to a most eccentric television show, a touch of the Mondo Carne of Italian television. There are eccentrics, relics of the past, freaks. And, it is assumed by Fellini, that the Italian public laps this up along with the eccentric TV commercials. (Fellini himself decided to make commercials because, if the films were to be interrupted, they might as well be interrupted by his commercials.)

Fellini has used his wife Giulietta Masina as Ginger. Thirty years after she made such an impact in La Strada and Knights of Cabiria, she portrays the elderly grandmother who had been a dancing star in her past. It is yet another wonderful performance by a strong screen presence. And the film focuses very much on her. Marcello Mastroianni, who had appeared for Fellini in La Dolce Vita and Eight and a Half, is the alcoholic and unstable Fred.

The film is reminiscent of Fellini's other films. However, it is less grotesque in its collection of odd individuals. And, finally, when Ginger and Fred go into their dance routines, there is a gentleness of spirit, a delight in the graceful dancing, the sounds of Irving Berlin's melodies to entrance an audience.

1. The work of Federico Fellini? The range of his films? Their particular style, realism? Surrealism? This film, made by a man in his 60s?

2. A portrait of Italy in the '80s, media Italy? Realism and fantasy? The city of Rome, the television studio? Hotels? The musical score - and the echoes of Nino Rota's score for Fellini's other films? The Irving Berlin melodies and their association with Ginger and Fred?

3. The world of Fellini, grotesques, freaks and eccentrics? The world of television commercials - and live commercials as at the railway station? The blend of the spoof and the serious?

4. The title and its evocations, Hollywood, the cinema of the '30s, graceful dance? The performance at the end? The musical score?

5. The presentation of Italian TV shows, `Now we bring you...' TV audiences and their expectations, watching television all day, wanting sensations? The rapid presentation of a multitude of sensations? The TV commercials? The producers, the assistant directors, the studios, make-up? The host and his bland smiling style - and the inevitability of the blackout?

6. Amalia and her arrival in Rome, her age, experience? A genteel woman? Nice? Her appearance, her manner? Memories of decades past? Meeting the officials, her chatter? Waiting for Pippo? In the van with the other celebrities, their being herded together, the admiral? Going to the hotel, her suite? Settling in?

7. The range of people coming to the show, their reasons and motivations? The admiral and his age, decorations? The transsexual and her vocation, prison? The miracle friar? The priest who had left and his fiancee? The dwarfs? Behind the scenes? On show - and the solemnity with which each of these sensations was treated?

8. Amalia and the Ginger and Fred routines, her explanations, her delight? Talking with the transsexual at the meal, becoming friends? Her affirmation later?

9. Meeting Pippo in his suite, his drinking, not recognising her? The next day, their talk, reminiscences? Memories of Toto? Dancing, mistakes, correcting them? Attempts at rehearsing? The moves? The preparation?

10. Pippo and his life, drinking, smoking at the studio? His scruffy appearance, his wife having left him? Need for money? In an institution?

11. Amalia, handling the situation, somewhat intimidated, phoning the family? Tempted to return?

12. The make-up room, the assembly of people, the circus of life? The mayor and his entourage, dancing with Amalia?

13. Lined up to perform, the introduction - and the remarks about their age? About to start? The blackout? Their talk during the power failure, attempts to leave? The lights coming up? Their dancing, Pippo falling but recovering himself? Amalia directing him during the dance? The beauty of the dancing, the success? The audience applause?

14. The achievement, satisfaction, the farewell, the discussion about money, the separation, the return?

15. Fellini and his world, a circus, the dance of life and death? Acerbic criticism yet affectionate humour?