Fellini's avowed purpose in Amarcord is very straightforward: "I simply wanted to create a portrait of a little Northern Italian town for a couple of hours. A town with its fantasy, its cynicism, its superstitions, its confusions, its fetes, and the passing of seasons." The film, however, is much more complex than a simple reverie or unvarnished history. No one remembers quite like Fellini, as we all know, so the film is really a quite personal and idiosyncratic vision of social history.
Fellini's loving portrait of his little town lacks a unifying plot; Amarcord is an impressionist mood piece that generally outlines the seasons of the year and the stages in life. There are births and deaths, weddings and orgies, holidays and holydays, parades and movies, motorcycles and peacocks. Yet beneath the frivolity and sentimentality, under the gentle satire and savage grotesques, lies a rich perception of the appeal of fascism…. To visit Fellini's home town in the thirties, to know the families there, to share Titta's relationship with his teachers, his mother, the town prostitutes, his schoolmates, and his church may finally be the only way to understand fascism. The very emotional, and seemingly harmless, attachments and taboos Fellini so lovingly delineates grew into a mass movement, a fanatical movement where inflamed emotion replaced reason. (p. 25)
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