Ginger and Fred (1986)

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Close shines in drama with strong language, adult themes.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Federico Fellini is one of the greatest directors and screenwriters the world has ever seen...and that must be the biggest understatement of the century. He had the ability to take simple, real elements and transform them into a surreal, enchanting experience that speaks for itself without the aid of a complicated plot or a multi-million dollar production design (although that's not to say his films aren't visually breath-taking). Even though it's not one of his greatest masterpieces, "Ginger e Fred" is one such film that demonstrates his never-ending talent.The main plot is as simple as it gets. Amelia and Pippo (Giulietta Masina and Marcello Mastroianni) are old friends who haven't seen each other for years, and in their youth, they were reasonably famous for their imitation of Ginger Rogers and Fred Astaire, doing their classic tap dancing and glamorous choreographies. Now, they're very old, but they're being invited by a big (and sleazy) TV station to perform in their epic Christmas program reenacting their age-old act. The film is about these two old people, seeing each other after so many years, and remembering those golden years when they were celebrated, important, and had the spark of love and friendship alive for each other.They're not the only ones invited to the show, though. A huge cast of quirky and colourful characters also make their appearance, each one trying to grab their share of the spotlight performing sometimes interesting, sometimes plain stupid, acts and/or abilities and "amazing" stories. We see an (obviously) Fellini-esquire array of supporting freaks- the priest who renounced his vows to marry his lover, the monk who levitates, the singing slovenly dwarfs, Swedish townsfolk with their fifteen-tit cow, a transsexual who services an entire prison row and is being processed for it, a medium who listens to ghosts through a tape recorder...the list is endless. They all have odious, over-familiar dialogue which makes us relate to the grotesque things we think well of in life. Our heroes, Amelia and Pippo, are thrown in with this collection of freaks, and find themselves both hating and liking the situation they've accepted.The images the film presents are as unusual and as surreal as we have come to experience through other Fellini films. The dialogue sounds casual and witty, but is continually spiked with longing, electricity, loathing and disenchantment. Our main characters speak and travel this (seemingly) alternate world they've entered and find it horrifyingly equal to that they live in. The way they all try to hog the spotlight, their unnatural addiction to TV and celebrities, the way they're all brainwashed through the televised images...Fellini makes a point on all of these. He also continually presents TV commercials about pork and meat, each commercial bearing a scantly-clad woman with a gruesome piece of meat and proclaiming it to be utterly delicious. The people believe it. We also see various posters and written advertisements with strange and slightly disturbing images for a variety of products that don't work, and proclaiming nothing but lies. People believe them.We see two main characters, Amelia and Pippo, being likable characters trying to relive their friendship, trying to regain their previous vitality and trying to fit in with a series of "freaks" (in every sense of the word) in a world where greed, money, fame and awful manners have been allowed to run rampant. We see our main characters trying to quit their association with this distasteful universe only to be drawn in over and over again by a faint memory of fame, by an interlude with someone famous, by the expectations their friends have of them.We, as the audience, feel happy to relate to these old friends who have met once again, and feel their angst. We also feel a certain repugnant hate for the rest of the characters, unfeeling beasts who (to our surprise and chagrin) also seem, each in their own way, very similar to us and the people that surround us. And what is all the more interesting is the way Fellini never even delves into the personalities of these characters (with the exception of Amelia and Pippo) but indirectly spends every second of the film injecting meaning and objection into them. The images, of course, speak for themselves.Masina and Mastroianni are perfect in their roles, the music is both catchy and nostalgic, the costumes are...well, out of this world and the screenplay is both earthbound and ethereal. I couldn't understand the emotional implications of the ending, but I suppose that must be Fellini's point, to leave the audience thinking. And, believe me, this movie does get you thinking! And though it's definitely not one of Fellini's greatest, it still is entertaining and amusing to analyze.Rating: 3 stars and a half out of 4!

They were a good pair of tap performance some 40 years ago. Though they slept together many times, eventually they parted without loving each other. One day, the man and the woman of the pair meet decades later. If you are either side of the pair, would you accept the offer for the TV show? They might have something to hurt themselves when they parted. If they meet in their forties, when they are still professional performers, the reunion could only remind them the bitter memory. But it seems they have already passed such age and situation.Rome is full of garbage. The TV studio is full of showy and mockery things. But this variety show becomes unforgettable time for them.Many times they are about to go away from the show, but eventually, when the TV studio is in turmoil of black out, they talk honestly, and they know they really wanted to see each other and dance again. When they dance, the face of Giulietta Masina is wonderful and impressive. And Marcello Mastroianni desperately dances not to fall again.While watching the movie, I recalled my own past and thought if I could someday see the woman who left me many years ago.

This is a very enjoyable film for fans of Italian cinema, as two great actors who made reputations for themselves in earlier Fellini films return late in their careers for a very nostalgic romp. Giulietta Masina (wife of Federico Fellini) and Marcello Mastroianni play Ginger and Fred--a dance team that made a name for themselves imitating the dancing style of Ginger Rogers and Fred Astaire. The act had broken up more than three decades earlier, but they both agreed to be reunited for a TV program. Now, much older and not having seen each other for many years, they meet and renew old acquaintances.All the dialog and scenes between the two leads were very sweet and charming. Despite her age, Ms. Masina in particular looked great and was amazingly light on her feet, while her partner was obviously too old and rusty but he felt compelled to be there. Unfortunately, while their scenes together were great, it took until almost the middle of the film until they were reunited. In the meantime, tons of Felliniesque touches were dumped onto the screen and served to either delight Fellini's die-hard fans who want this or alienate people like me who felt they totally obscured the story. For example, on this variety show are a troop of dancing midgets (VERY Fellini-like), a transsexual, a kidnap victim with missing digits, an againg admiral, countless bad celebrity impersonators and lots of garish little touches that made it obvious that Fellini was NOT a fan of television--like a film made by kids who have severe ADHD since it has practically EVERYTHING. Additionally, throughout the film, lots of bizarre touches were inserted such as an irrelevant biker scene and a short clip at the beginning of the film of a billboard on which a sausage is penetrating a woman (look quickly--it's there).I guess I am just much more of a romantic. I really wanted to see more Masina and Mastroianni. Their interplay was excellent and charming and the dance routine was amazingly sweet and touching. I guess never having been a huge fan of Fellini's more surreal and indulgent films, the excesses and distractions of this film made it tough to rate it any higher.

Fellini had at his disposal a small, sharply focused, touching story about two unexceptional people whose time has passed - a time in which they were recognized for their imitation of others' style and talents. Each is lonely and presumably much in need of what the other can offer, but we are left with the feeling that, despite her hesitant offer, they will not get together.Unfortunately Fellini's self-indulgence turns what might- have- been into a sprawling, overdone satire of commercial television in which the story of those two is buried. There are two pictures here, and Fellini emphasizes the wrong one. Granted that his direction, in and of itself, is often brilliant, he is too inclined to make every film a tour de force. His segment of "Spirits of the Dead," which I recently saw for the first time, suffers in the same way.