Federico Fellini, revered in Italy as a cine matic great and cited abroad as a key influence on Martin Scorsese and Woody Allen, is at the centre of a row in his home town of Rimini.

Celebrations of the 90th anniversary of the director's birth have been marred by a battle over his legacy between his niece and the foundation set up in his name to promote such classics as La Dolce Vita.

Francesca Fabbri Fellini, the daughter of Fellini's sister, has stormed off the board of the foundation, claiming that she was frozen out and has taken with her Fellini's personal library and his collection of Oscars.

A tale of money, blood ties and show business, the battle of Rimini has upstaged the opening in Italy of Nine, the musical film starring Daniel Day-Lewis and Nicole Kidman inspired by Fellini's 1963 masterpiece 8½.

Despite rumours in Rimini that she craved the limelight at the foundation, Fabbri Fellini said the truth was she has been snubbed. "When the Fellini Prize was awarded to Sidney Lumet in November, no one bothered to introduce me to the American director," she told the Italian newspaper Il Resto Del Carlino. "I had to chase him down the corridor of the Grand Hotel in Rimini at the end of the evening to meet him."

It is great to see people both viewing and thinking about and discussing these films in 2010.

In 1966, after a terrifying nightmare, the Italian maestro decided to abandon the making of a film called The Journey of G. Mastorna. Years later, the script was published in Italian newspapers with some illustrations by none other than Milo Manara, whose "Untitled" was a tribute to Fellini and which uncle Federico had liked. The subsequent collaboration on "Trip To Tulum" is a gorgeous blending of Fellini's dream vision and some of the finest illustrations ever put to paper by Manara (which means finest illustrations by anyone ever).

Manara's official site.

Alemanno said... "Theme parks are a global phenomenon that prompts hundreds of thousands of people to travel; but Italy, and Rome in particular, has been terribly behind in this sector,"

But Rome is... Rome. Does it really need a theme park?

Anyway, there is more in the article, including the specific mention of a Fellini ride.

To attempt to put on a Fellini exhibition means to go back to the sources of Fellini's art and studying and revealing its processes of transformation, alteration, borrowing and accumulation. The result is a set of strata combining filmic elements, photographic documents, magazine presentations of the event, TV images and works by artists. This exhibition is resolutely multidisciplinary. It sets out to offer a new grid for reading Fellini's films.

The event and the historical fact, History and anecdote, biography and fiction are the materials that, by means of confrontations, echoes and dialogues, Fellini used to built his distinctive narratives and original visual environments.

Showing the creative context of Fellini's work in an exhibition means showing the nature of his creative mechanisms.

While many now legendary scenes have come to be seen as perfect incarnations of Fellini's prolific imagination, it now looks as if a more thorough analysis of the context will offer a fresh point of view on his work. Such a hypothesis sits well with Fellini's own inclinations. Trained as a caricature artist in his youth, for a while he earned a living by doing portraits of GIs on leave, and all through his life he would show the same visual acuity, the same ability to gather so much more than images in his freeze-frames of reality.

The exhibition at the Jeu de Paume affords a glimpse of Fellini's creative mechanisms by showing his unique ability for absorbing the real.
It comprises mainly photographs and drawings by Fellini, original film posters, period magazines and excerpts from his film.