[Can] one ever have too much of Federico Fellini's special brand of excess? The maestro, after one of his customary long silences, has come out with all cameras firing….
[For his film Provo d'orchestra] Fellini had the majestically simple idea of using a rehearsing orchestra as a symbol of social order and hierarchy. And of their fragility. No sooner does discipline break down in the orchestra—when its members stage a sudden, headstrong rebellion against their autocratic conductor—than Heaven itself seems to thunder in anger by pulling down the walls of the ancient Italian church in which they are rehearsing. Order is restored amid the dust and debris, but is it the same as before? The conductor seems to have gradually changed his brand of Italian autocracy for a more sinister Teutonic version, and as the screen darkens at the end of the film, a führerlike voice starts to bark forth in fluent German.
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