"Fellini's Little Fairy"

The first letter is "m"

Second letter "a"

Third letter "z"

The last letter of the letter is "a"

Answer for the question "The Little Fairy of Fellini", 6 letters:
Mazina

Alternative questions in crossword puzzles for the word mazina

Federico Fellini's wife

Russian fencer, champion Olympic Games (2000)

Italian actress Juliet

Famous Italian actress

Italian movie star Juliet

"Ginger and Fred" (actress)

"Nights of Cabiria" (actress)

Italian film actress, wife of F. Fellini (1920-1994, “Nights of Cabiria”, “Ginger and Fred”)

Definition of the word mazina in dictionaries

Encyclopedic Dictionary, 1998 The meaning of the word in the dictionary Encyclopedic Dictionary, 1998
MASINA (Masina) Juliet (1921-1994) Italian film actress. The combination of grotesque and lyricism and subtle psychologism inherent in Mazina’s talent were revealed in films directed by F. Fellini (Mazina’s husband): “Variety Show Lights”, “The White Sheikh”, “The Road” (“They...

Wikipedia Meaning of the word in the Wikipedia dictionary
Mazina is a proper name; common in the form of surnames; in Russian it is a feminine form of a surname. Masina, Giulietta (1921-1994) - Italian actress. Mazina, Maria Valerievna (born 1964) - Russian sword fencer, Honored Master...

Examples of the use of the word mazina in literature.

Coming out of the hospital, Kolya's mother Mazina I also started knitting socks and mittens for the army.

Future geological explorers went on a scientific expedition to the Karakum Desert Mazin and Rusakov.

And then, just like in the distant years of childhood, the same boys, stupefied with happiness, threw themselves on Major Burtsev’s neck - the sailor Baltic Fleet Trubachev, geologist Mazin and Rusakov, builder Odintsov, artist Malyutin, teacher Sasha Bulgakov and two friends - orphanage teacher Nyura Sinitsyna and future doctor Lida Zorina: - Mitya!

On the way, Rusakov reproached Mazina, that he was too busy studying: “They only told you to study, but you had your nose buried in a book.”

Hence the passionate and devoted, not spectator, but family love that we felt for Anna Magnani, Sofia Loren, Marcello Mastroianni, Juliet Mazine, Rossellini, Fellini, Visconti.

Federico Fellini's films are constantly on the list of the best film masterpieces of all time. His influence on such masters as Stanley Kubrick and Ingmar Bergman is obvious. It is difficult to overestimate Fellini’s contribution to cinema, because his name is one of the first among the classics. Take a look at the ten best films of Federico Fellini, the master of Italian cinema, starting with his neorealist roots and traveling inward to his later films with a fantastical twist.

THE WHITE SHEIKH / LO SCEICCO BIANCO (1952)

Debut directorial work Federico Fellini became the comedy farce “The White Sheikh” with Alberto Sordi in the title role. The script, co-written by Michelangelo Antonioni, tells the story of a clerk who spends his honeymoon with his young wife in Rome. But the young girl becomes simply obsessed with the actor who plays in a photo comic about the adventures of the brave White Sheikh, so she secretly sneaks away from her husband to meet her idol. The husband is desperately trying to find his wife in order to introduce her to his Puritan relatives, and at this time she is already 20 kilometers from Rome on a boat with the Sheikh.

This first work perfectly demonstrated the comedic side of creativity. Fellini. The plot moves at the speed of an avalanche. In those times when the name Fellini had not yet become so authoritative, he had to work hard to create a clear directorial style and tone. But at the same time, Fellini I managed to show my love for surprise and farce here. “The White Sheikh” is a diamond in the rough in creativity Fellini!

MOMMY'S BOYS / I VITELLONI (1953)

This tragicomedy tells the story of five Italians born in a small seaside town. They spent their childhood and youth there, and now they live the calm, measured life of the town. Jokingly, these five call themselves " mama's boys", because deep down they want to leave their native places, but then they will have to leave all their past life. Only one of the group had the courage to leave and start a better, albeit more difficult life in a new place.

"Mama's Boys" is considered one of the key films in Italian cinema. And of course, the film inspired such modern classics as Scorsese's Mean Streets and Barry Levinson's Diner. By the way, Stanley Kubrick considered this film to be the best in his filmography. Fellini.

THE ROAD / LA STRADA (1954)

A wandering circus performer, a strong and cruel man, buys a naive young girl from her mother as an assistant and takes her with him on the eternal road. Two completely incompatible characters always end up together. But a sudden meeting with an old enemy changes their lives.

The Road is considered one of the most powerful films ever made. After the release of the film directed by him Federico Fellini much criticized due to certain aspects of the neorealism movement. But he had the strength to move away from harsh reality, an overly realistic political landscape and ideological doctrines - towards fantasy and poetry. And many followed his example. In 1955, The Road won the Oscar for Best Foreign Language Film.

NIGHTS OF CABIRIA / LE NOTTI DI CABIRIA (1957)

Cabiria is a prostitute who roams the streets of Rome servicing clients. But she dreams of true love and a better life. No matter how hard life hits her, she always finds the strength not to lose heart and move on.

Federico Fellini was so impressed by the performance of Giulietta Masina in his previous film that he wrote the script for “The Night of Cabiria” specifically for her. He also had to convince producers that she was ready for her first leading role. Nights of Cabiria also faced funding problems due to its highly controversial subject matter, but today the film is recognized as a masterpiece. There are already visual hints of the boundless freedom of La Dolce Vita, but there is still an obsession with harsh reality.

THE SWEET VITA / LA DOLCE VITA (1960)

This cult comedy film is rightfully considered one of the best ever made. His hero is journalist Marcello. He is included in social circles and is always a welcome guest there, but all this is of little interest to Marcello. Something is constantly bothering him. He is surrounded by gorgeous women, but none of them touches his soul. Even the beautiful American film star Sylvia cannot dispel the anxiety in the journalist’s heart.

A lot has been written and said about this film, so we offer you the words of the Fellini about his film:

“When I and my assistants made an attempt to create a story that would generalize and show the contradictions, uncertainty, fatigue, absurdity, unnaturalness of a certain way of life, then, as if hearing an otherworldly voice, I began to repeat to myself: no, there is no need to worry about creating a narrative, this the film should not be a narrative story. Let’s do this better: put together all the collected material, talk frankly, share our thoughts, remember what we read in newspapers and comics. Let’s put all our notes, all the documents on the table in the most chaotic form.”

EIGHT AND A HALF / 8 ½ (1963)

The film tells about the creative search of director Guido Anselmi. Everything is already ready for his new film - the script, the scenery, some amounts of money have been spent. But Guido is in no hurry to start filming, being in some kind of crisis, he just can’t put the picture together. And, of course, at this time, gorgeous women are circling around Guido, as if in a dance.

As I said Fellini, in this film he was “obscenely frank.” Indeed, there is a lot of him in Eight and a Half. The film seems to live its own life, and no matter how many times you watch it, it will appear before you with something new. Entertaining, unexpected, brilliant, but unfortunately with a hint of despondency, this film brought Fellini another Oscar.

JULIET AND THE PERFUME / GIULIETTA DEGLI SPIRITI (1965)

Juliet and her husband are completely different from each other, but for the sake of decency she still tries to save the marriage. Soon news reaches Juliet that her husband has a mistress. From that moment on, she plunges deeply into the world of mysticism, visions and memories, exploring her subconscious.

A very long time Fellini conceived the idea of ​​this film as the quintessence of women's liberation from male despotism. He conceived it during “The Road” for Giulietta Masina and about Giulietta Masina. “The intention of the film in this regard is to restore to woman her true independence, her undeniable and inalienable dignity. Free man cannot deny this to a free woman. A woman should not be either a madonna or an instrument of pleasure, much less a servant,” he himself said Federico Fellini. By the way, this is the first film Fellini in color, so special attention is paid to details and decorations.

SATYRICON / FELLINI - SATYRICON (1969)

As a basis Fellini took the novel of the same name by Guy Patronik, but greatly modified the plot of the work itself. The director shows us the darkest period of the Roman Empire, but the story itself tells us more about modernity than about historical events. As in the book, everything revolves around a young man, Encolpius, searching for his young lover, who ran away with their mutual friend.

Despite the fact that today Satyricon is considered one of best works Fellini, it was initially received rather coldly, being called too experimental and condescending. But this criticism is only appropriate if you take everything that happens on the screen literally. Satyricon was far ahead of its time.

ROME / ROMA (1972)

As you might guess, the main role here is played by the city itself, Rome. This is the story of Federico Fellini how he moved from a small town to Rome and settled in a large apartment with many different tenants.

There is no specific plot development here, but we see how Rome developed, its past, present and future. This city is cruel, immoral and vicious, but it is it that shapes the worldview of the future director.

AMARCORD / AMARCORD (1973)

The film is largely autobiographical. Fellini describes his childhood spent in a small town. Outside the window are the 1930s and the very dawn of the fascist dictatorship of Mussolini. These are unforgettable sketches of the life of an Italian town, the desires and problems of teenagers and much more against the backdrop of turbulent political events.

“Amarcord” in the Romagnol dialect of the resort town of Rimini, where he grew up Fellini, means “I remember.” This is one year from the director's memories. In this way, he tries to rethink his true roots and identity. There is no technical mastery of the director here, and yet "Amarcord" perfectly demonstrates the subtlety of genius Fellini.

This is a list of the ten best films in the work of one of the best directors of all time, Federico Fellini. If for some reason you are not yet familiar with these films, then you should definitely watch them. These works of Fellini give unforgettable emotions and largely influence the worldview.

Juliet Masina

Fellini's Little Fairy

She was never like others. A funny woman in the age of exquisite beauties, a brilliant actress who refused to act in films, a faithful and devoted wife who still managed not to dissolve in her great husband, – she lived as if not noticing the rules established for everyone except her. The touching, defenseless smile of Giulietta Masina was addressed to Federico Fellini, but still warms the hearts of millions of fans...

For Fellini, with whom they lived in a happy union for exactly half a century, she was a wife, muse, actress, mother and beloved child. It seemed that her whole life was illuminated by love, beautiful and magical, from birth to death. Juliet's parents are worthy of a separate legend: her father, Zhetano Mazina, was a talented cellist, but left music for the sake of love for the beautiful Angela Flavia Pasqualin: her rich family agreed to their marriage only on the condition that Zhetano would find himself a serious job.

He left the orchestra, got a job at a mineral fertilizer factory, and spent his whole life telling his four children about what he sacrificed for the sake of family happiness. And the happiness was real: Zhetano and Angela never even quarreled. Their youngest daughter, Julia Anna Masina, was born on February 22, 1921 in the small town of San Giorgio di Piano: parental love, devoted and sacrificial, became for her a model of family relationships.

When the girl was four years old, her widowed Aunt Julia, who lived in Rome, took her in. Julia, immensely passionate about art in all its forms, saw acting talent in her little niece and decided to raise her to be a great actress: the girl was not even sent to school, so as not to traumatize her sensitive artistic nature, and Juliet caught up with her school curriculum in the summer with her mother-teacher. They recalled that as a child, Juliet had no peer friends: she only communicated with her aunt’s friends, who, like her, were passionate lovers of art - poets, actors, writers and artists, so it is not surprising that she did not imagine another life. At the Lyceum of the Ursuline Sisters, Juliet was passionate about music, from the age of fourteen she hosted a children's program on the radio, and later entered the Faculty of Philology at the University of Rome. Between lectures, Juliet played in the student theater - and so successfully that she was soon invited to the professional stage. Along with a diploma as a literature teacher, Juliet received invitations to five Roman theaters at once - and at the same time worked on the radio, playing one of the main roles in the comedy series “Chico and Pollina,” which tells the story of the life of a young married couple.

Federico Fellini on the set

Still from the film “Juliet and the Perfume”, 1965.

One of the writers of the series was Federico Fellini, who at that time made his living mainly from caricatures and humorous stories. The series was such a success that the authors were offered to transfer it to the big screen - in search of possible performers, Federico looked through hundreds of photographs, among which was a photograph of Julia Anna Masina, whose soft smile made an indelible impression on the young screenwriter. Fellini invited her to a luxurious restaurant - having previously collected money from friends for a luxurious dinner, but Juliet ordered only the cheapest dishes: she was sure that her new acquaintance would not have enough money to pay the bill. And although she later admitted that at the first meeting Federico did not make much of an impression on her, after a few weeks they began to live together in the house of Aunt Julia, who had quarreled with her niece’s parents over this. Five months later, on October 30, 1943, Federico and Juliet got married: the celebration took place on the landing of the house where they lived - Federico evaded conscription into the army and was afraid to appear in in public places. After the ceremony, they went to the theater, where one of Fellini’s friends was playing that evening: he, noticing the couple entering the hall, interrupted the performance and congratulated the newlyweds - this impromptu congratulation was the first spark of that attention, bordering on adoration, that would eventually fall on the star couple.

On the wedding announcement, Federico drew Juliet's picture of their unborn baby descending from heaven. However, a few weeks after the wedding, Juliet lost their first child in an unfortunate fall from the stairs. She became pregnant again - but the boy lived only two weeks. More Juliet I couldn't have children. The tragedy they experienced only strengthened their marriage: Federico was ready to break into pieces, if only his wife would never cry again, and in return received all the love that only Juliet was capable of.

Fellini was a dreamer and inventor: usual life seemed too boring and uninteresting to him, and he enthusiastically painted it with the bright colors of his wild imagination. Juliet allowed him to do this: she agreed with his invented stories, played along with him, agreed with all his crazy ideas - and perhaps Fellini loved her so much precisely because she allowed him to live in the world of his own fantasies. She stood firmly on the ground - and it was largely thanks to her strong character and charm that Fellini’s genius took shape.

Juliet dreamed of acting in films - but her distinctive appearance was praised theater directors, was completely unsuitable for film producers: despite the fame that came to her early, Masina’s film debut took place only in 1946 in Roberto Rossellini’s film “Paisa”, where she was dragged by Fellini, who worked on the film as a screenwriter and assistant director - and she was not even mentioned in the credits. But Masina became friends with Rossellini himself, and quietly ensured that he began to promote Federico: he not only made films based on his scripts, but also advised him to other directors, and later found producers for his first independent work. It was Rossellini who introduced Fellini to cinema; and although Fellini later stated that “Rossellini was just a traffic cop who helped me cross the street,” Giulietta understood to whom her husband owed his career.

Federico Fellini, Marcello Mastroianni, Sophia Loren

Federico was never an exemplary husband, but he sincerely loved his wife, appreciated her talent and dreamed of throwing the whole world at her feet. For her sake, he endured more than one battle: when he told the producers that Mazina should play the main role in The Road, they almost quarreled - but after the premiere, Juliet was unanimously called a brilliant actress, comparing her with Greta Garbo and calling her “Charlie.” Chaplin in a skirt." Chaplin himself even stated: “I admire this actress more than anyone else.” Restaurants, sweets, dolls, hat models, and even a steamship were named after Gelsomina, the touching, funny and incredibly charming heroine of Mazina. And her role in the film “Nights of Cabiria” raised Mazina to unattainable heights: it is not without reason that the final passage of her heroine, just abandoned and deceived by her beloved man, with a touching smile on her tear-stained face, is still one of the most famous scenes of world cinema.

A cascade of various prizes, awards, admiration and praise fell upon Mazina and Fellini. Juliet was offered a very lucrative contract in Hollywood for five years - but she refused because she could not part with her husband for so long. Five years later, he would film her again in the film “Juliet and the Perfume,” where she largely played herself: Fellini built the image of her heroine based on her own fears, childhood photographs, habits, gestures... The film was not appreciated by critics, and Fellini himself only brought trouble: he was accused of tax evasion and ordered to pay a huge amount, for which the couple had to sell the apartment in a fashionable area and move to a modest apartment.

Stills from the film “Nights of Cabiria”

After the failure of the German film “The Big Life” (originally Das Kunstseidene Madchen), Mazina refused to act in film for a long time, preferring the role of a faithful and devoted wife to film roles, although playing this role was not so easy. “Marriage for Juliet was not what she expected,” Fellini admitted. – It did not bring her the fulfillment of her cherished desires. She expected children from the marriage. Own home. And a faithful husband. I disappointed her. She doesn’t have me.” All his life, Fellini remained a frivolous youth who did not want to grow up, turning his life into a carefree and reckless carnival. He constantly cheated on his wife, but he was always the first to confess everything to her, and she could not be offended by him, just as one would not be offended by a child who had misbehaved. Like her father once, she sacrificed her life and her desires for her family. To please Federico, who adored the bustle of the city, she continued to live in the center of Rome, although she dreamed of living outside the city, and always spent her summer holidays in his native Rimini, although the climate there was categorically harmful to her. She took upon herself all the hassle associated with his work - from discussing the script to choosing the location, from selecting actors to arguing with producers. At his request, she made acquaintances with the right people, with whom her brilliant husband did not want to communicate personally, and accompanied Fellini on the set, paying for travel and hotels out of her own pocket. Her presence was mandatory - Fellini wanted to know her opinion on every little thing, and if she was not around, he could even stop work. It was not for nothing that critics called her “the woman who made Fellini” - without her support, her inspiration, her strength, he would hardly have achieved such heights... When he received well-deserved awards, she sat in the hall and cried with happiness, and he shouted to her: “Juliet, stop crying!”

When his creative ideas consumed all their savings, she saved on everything except her husband. He bought his famous red scarves in the most expensive stores in Europe, and she had neither jewelry nor luxurious dresses. “Why do I need them? They won’t make me beautiful,” she said. She even borrowed fur coats for walking the “red carpet” - an indispensable attribute of movie stars of those years - from friends, but her happiness was measured not by furs and diamonds, but by the love and gratitude of her husband, who dedicated his films to her - just like her dedicated her life to him.

And at the same time, she did not dissolve, like many wives of brilliant husbands, in her husband: Mazina remained an independent person, managing to deal not only with his career, but also with her own. She broadcast on the radio and wrote a newspaper column, gave concerts and even defended academic degree, the topic of her dissertation is “The social status and psychology of the actor in our time.” She was not afraid to argue with her husband and even scold him in an interview. “In my family, I am in command,” she told reporters, and Federico happily agreed. He called her “my little good fairy” and admitted that she occupied a place in his life that religion occupies for others; he never ceased to confess his love to her and admire her talent. All of Italy shared his feelings - Giulietta Masina was considered one of the most intelligent, talented and worthy women in the country. Even the paparazzi, who, by the way, owe their name to Fellini’s character, paid tribute to Masina: many photographs depicting Federico in situations unworthy of a faithful spouse were not published out of respect for his wife.

Giulietta Masina continued to act occasionally - either in Germany, or in England, or in television series on Italian television. In total, she played in twenty-seven films, but her main achievements are considered to be four roles in Fellini’s films. The last time she starred in his film “Ginger and Fred”, where her partner was Fellini’s favorite actor Marcello Mastroianni.

She always tried to protect Federico from the problems of real life - and all her life she successfully managed to hide from him everything that could upset him. Even when doctors discovered cancer in her, she did not tell her husband anything: he found out about everything by chance when he was in the Rimini hospital. Juliet decided to take the opportunity to go to the clinic, and one of her friends let slip that he had visited her there. Fellini immediately came to Rome - they were in neighboring rooms and were discharged from the hospital on the same day on the eve of the golden anniversary of their wedding.

They say that on October 30, 1993, they went to the very restaurant where they had their first date. That evening, Fellini lost consciousness - he had a stroke. He died on the day of their anniversary, never knowing how seriously ill his Juliet was.

Federico Fellini and Giulietta Maeina

Tomb of Federico Fellini and his wife Giulietta Masina

At the funeral, she cried and repeated: “Without Federico, I don’t exist...” Giulietta Masina died five months later, having bequeathed to be buried with a photograph of her husband in her hand. She rests next to Federico Fellini in the Rimini cemetery, and their tombstone, which was erected by Tonino Guerra, reads: “Now, Juliet, you can cry.”

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February 22 marks the 96th anniversary of the birth of the famous Italian film actress, wife of director Federico Fellini, Giulietta Masina. Their wedding with Fellini took place 2 weeks after they met, they spent 50 years together. He passed away on the day of their golden wedding, and she died six months later. They said that what made Federico Fellini a genius was this small, fragile woman, for whom his films replaced children.

Julia did not have any acting training, although in her youth she participated in amateur productions and played in the student theater while studying at the University of Rome. She was invited to participate in radio shows, where she read funny sketches. Their author turned out to be Federico Fellini, unknown to anyone at that time. At that time, he himself did not know what he wanted to do in the future: in Rome, the young man changed a dozen professions. They soon met Julia and got married two weeks later.

Still from the film *Variety Show Lights*, 1950

Federico Fellini was a great storyteller and dreamer. Julia played along with him when he began to describe countries he had never been to. She understood that illusory world created by him cannot be destroyed. Fellini later said: “I always believed that my meeting with Juliet was predetermined by fate itself. … She was so small and needed my care. … Until this time, no one depended on me so much. I fell in love with my own reflection in her eyes. Juliet performed scenes I wrote. Thus, business relationships developed parallel to personal relationships, and this has always been the case.”

Julia lost her first child when she fell from a stepladder. The doctors convinced her: there was nothing to worry about, because she was young and healthy. At 24, Julia gave birth to a son, but he lived only two weeks. Together with her son, she also lost hope of becoming a mother: she could no longer have children. Fellini later said that his films became their common children, because Giulietta Masina (her husband insisted on this stage name) did not like to act in the films of other directors. “My films are our children,” said Federico Fellini, “aren’t they born in pain? And doesn’t their creator love them like children?”

Federico Fellini and Giulietta Masina

Actress Giulietta Masina and her husband, director Federico Fellini

Juliet devoted all her energy to her husband and his career. She knew how to negotiate and make acquaintances with the right people, looked for investors and, most importantly, always believed in her husband’s genius. Juliet became friends with film director Roberto Rossellini, and soon he invited Fellini to be his assistant. And 3 years later, Rossellini made a film based on his script. Thus began the career of the famous director, whose works became Oscar-winning and earned worldwide recognition.

Juliet Mazina in the film *Road*, 1954

Despite creative success, their family never lived in abundance. Fellini was wasteful and, if not for his wife, would probably have ended his days in poverty. Juliet said that in their family she is the financier. And this was far from her only role. She became her husband’s partner, muse, adviser and co-author.

Famous Italian actress Giulietta Masina

Juliet Masina in the film *Nights of Cabiria*, 1957

Juliet Mazina could have made a more successful film career, but she refused most offers because she preferred to work with her husband. She acted in a total of 24 films, but was known only for a few roles played by Fellini. She embodied Chaplin's theme on the screen " little man" V female image, for which she received the nickname “Chaplin in a skirt.”

A brilliant director and his permanent muse

Juliet Masina in the film *Nights of Cabiria*, 1957

Federico Fellini was not faithful to his wife and did not hide it: “Women think that when you sleep with someone other than your wife, you give that other not only your flesh, but also your soul. But men know that this is not so. However, how can you explain to your wife that someone simply borrowed some part of you for the night?” – he was perplexed. Despite rumors about his numerous affairs, Fellini admitted: “No one person meant as much to me as she did. She became the star of my life."

A brilliant director and his permanent muse

Juliet Mazina in the film *Juliet and the Perfume*, 1964

The day after the golden wedding, Fellini suffered a heart attack. Unfortunately, doctors were unable to save him. At that time, Juliet Mazina was seriously ill, but for a long time hid her fatal diagnosis from her husband. According to doctors' forecasts, she was supposed to live for about 2 more years, but she could not live without her husband - six months later she died. She was buried with a photograph of her husband in her hands, just as she wanted.

Actress Giulietta Masina and her husband, director Federico Fellini

Famous Italian actress Giulietta Masina | Photo: kino-teatr.ru

December 10, 2009, 15:32

When Italy buried Federico Fellini, traffic in Rome was stopped. All radio and television stations stopped working. A crowd of thousands accompanied the funeral cortege with applause along the roads of Italy - from Rome to the family crypt of the Fellini family in the small seaside town of Rimini. The maestro was born there and was buried there. Federico Fellini Giulietta Masina did not hide her tears. She accepted condolences with a defenseless, world-famous smile and a look that the maestro himself said was the look of a lost dog. Giulietta Masina Five months later, she would make the same journey - from the hospital in Rome to the cemetery in Rimini... Friends claimed that all the time after Fellini’s death, Giulietta almost did not speak, only repeating: “Without Federico, I am not.” Federico and Juliet The bomb exploded a year later. “I was the last beloved woman of Federico Fellini, and his wife, Giulietta Masina, knew about it,” said the Dutch writer Rosita Stenbeck at the presentation of the autobiographical novel “Kinds of Love.” The plot of the book is simple: a young girl describes the Roman dolce vita. Moreover, she is accompanied in all her adventures by the writer Eduarde (prototype - playwright Alberto Moravia) and the famous director Marcello Leoni (respectively - Federico Fellini). Rosita was not shy in her descriptions of Roman orgies: one day Eduardo, Marcello and Rosita are having a “party for three”, and the men take turns passing a whip over the heroine’s genitals. In addition, Rosita claimed that Fellini was bisexual. The scandalous book was given some credibility by the fact that Rosita really knew Fellini and Masina. And she even played a cameo role in the film “Ginger and Fred.” The Italians perceived Stenbeck's revelations as an insult to a national shrine. Fellini and Masina, during their lifetime, entered the pantheon of gods - they were spoken of with aspiration and admiration. And now Italy was not interested in Fellini’s sexual orientation or his methods of sexual expression. Stenbeck was forgotten almost immediately after the book was published. But the nation wanted to know: did their gods love each other? Or was the alliance between Fellini and Masina just a vulgar deal between two careerists?
In the story of his parents, what Fellini loved most was the myth of their love. During the First World War, Private Urbano Fellini fell in love in Rome with a girl from a wealthy family and proposed marriage to her. The parents were against the wedding, and the lovers, having secretly got married, left for Urbano’s homeland. (It’s interesting, but Masina’s parents had their own romantic story. Father, Getano, was an excellent cellist. But in order to marry the girl he loved, he exchanged the delights of creativity for the boring position of cashier at a mineral fertilizer factory.) Giulietta Masina The only thing Fellini didn’t like about the family myth and what he often talked about was its banal continuation: children, money, poor life. He knew for sure: what we call cruel reality is nothing more than a deceptive maneuver, wretched scenery behind which life hides, so that on its holiday, on this fairground booth with fireworks, mummers, fairies, fables and sweetly crazy music Only the worthy and dedicated were included. Federico Fellini Even when he was little, he constantly made up stories about himself. He lied that he had read only three books (his family claimed that he read voraciously as a child). He said that he had never played football. He was a poor student (he was one of the most diligent students in the class). He talked with pleasure about the fictitious torments (cold cells where the guilty were placed with their bare knees on grains of corn or peas) to which he was subjected while studying at the Catholic college Fano. It goes without saying that Fellini's classmates say that there was no trace of this. Little Federico's main enemy was his uncle - he quickly realized that the boy was selflessly lying and pretending. We can say with complete confidence that Federico fell madly in love with Juliet because she allowed him to live according to the scenario he had invented. She immediately realized what disgusted Federico most of all was the so-called real life with its simple and miserable problems.
It was sometimes difficult for outside observers to understand where in their relationship reality ended and the game began. Nino Rota recalled how one day during lunch Federico remarked: “Remember when we were in Australia, Juliet”... Everyone knew perfectly well that neither Federico nor Masina had ever been to Australia. But Mazina just glanced along the table and, smiling, nodded: “Yes, honey, there were wonderful artichokes there.” Together they played a cheerful performance of life, turning a boring reality into one big adventure, where life and cinema constantly change places. Juliet Mazina They met on the radio in 1943. Eighteen-year-old Juliet was already a popular live radio host and played in five Roman theaters in one season. Fellini was three years older than Juliet. He worked as a cartoonist in a small newspaper and "mowed down" from Mussolini's army. He also wrote the script for “Moraldo in the City” for a film studio run by the dictator’s son. The never-made film was supposed to be about love. To get to know future wife, main character asks her for a photo. Then he invites her to dinner and after a couple of weeks he moves into her apartment. Federico Fellini himself did the same thing. He asked the popular radio presenter Julietta Mazina for a photograph - supposedly for a screen test... The very next day they went to a restaurant. “Federico didn’t make much of an impression on me,” said Juliet. “A friendly young man - that’s all.” After having lunch at home (where does the poor cartoonist get his money?!), Juliet runs off on a date. While Fellini places the order, she looks at the luxurious interior and thinks that her companion has gone crazy: he doesn’t have enough money to pay for even a cup of coffee. When the young couple was presented with the bill, Federico imposingly took out a wad of banknotes. “I never saw Federico with such a huge amount,” Masina liked to repeat, talking about their first date. They announced their engagement a couple of weeks later. Fellini immediately moved to Aunt Giulia's house on Via Lutetia. Aunt Julia deserves her own story. She raised Juliet from the age of four. It was her aunt who recognized her acting talent and introduced her into the circle of Roman bohemia. Aunt Julia was so sure of her niece’s extraordinary nature that she didn’t even send her to school. School curriculum the girl spent the summer catching up with her mother. Juliet and Federico settled in Aunt Julia's house. They got married only a few months later. The wedding ceremony took place on a flight of stairs for safety reasons. Federico, who was threatened by the army, did not risk appearing in the Catholic cathedral. Everything was so secretive that Ava Maria was sung by one of Fellini’s friends. After the wedding, Federico and Juliet went to the Galleria cinema, where, to Juliet's surprise, the entertainer asked the audience to greet the newlyweds with applause. This was Federico's wedding gift. And then Fellini preferred to surprise his wife rather than give diamond tiaras. And Juliet will name his best gifts two roles in the films - “The Road” and “Nights of Cabiria”. "The Road", 1954 "The Road", 1954 "Nights of Cabiria", 1957
"Nights of Cabiria", 1957 A few weeks after the wedding, Juliet fell down the stairs. She had a miscarriage. The second pregnancy ended in March 1945 with the birth of a son, named after his father, Federico. But two weeks later the child died... They had no more children. After his marriage, Federico never settled down. He attended all the bohemian parties, sat at night in the editorial office or editing room. And Juliet opened the doors of the house to all his friends. Sometimes these friends turned out to be attractive women. He told his wife about everything - and about his own novels too. Friends of Federico and Masina recall that if the maestro was guilty of something to Juliet, she was the first to find out about it - from him. Masina, with her demonic character, was absolutely suitable for Fellini. She was a fabulous, fragile, crafty fairy. And at the same time a strong woman, an absolutely reliable partner. It was Masina who “arranged” Fellini as assistant director Roberto Rossellini. He would later say that Rossellini was just a traffic cop who helped him cross the street. "But isn't that enough?" - Juliet will answer. Roberto Rossellini Juliet invites Master Rossellini to Sunday dinners. They walk around Rome together. And they talk about “anything except cinema.” It is not surprising that when Rossellini needed to shoot the second part of the short film “The Human Voice”, he invited Federico. Thus began the career of a great director. Mazina insisted that Federico direct his first film, Variety Lights. Rossellini helped find the money. Since then, it has been like this - not a single Fellini film could do without Juliet. They discussed scripts even before Federico sat down to write them. She pleased his friends and colleagues, the actors claimed. She went to select locations and accompanied her on all filming expeditions. At first, Fellini wanted to film only his wife. Two leading roles in the films “The Road” and “Nights of Cabiria” raised Juliet to unattainable heights. They began to call her great, compare her to Charlie Chaplin, she was awarded Oscars and offered the most lucrative contracts. But Mazina invariably said “no” to all the tempting offers from Hollywood.
Friends recall that while working on films, Fellini’s highest priority was his wife’s opinion. If Juliet was not on the set, Federico constantly called her at home and consulted even on the most trivial matters. They often quarreled. Not as a director and actress, but rather as husband and wife. Fellini accused Juliet of being grumpy, and she accused him of being intolerant. As if it was a question of who should wash the dishes in the evening. During the filming of the film "Satyricon" they had a serious quarrel. Mazina stopped coming to filming. Fellini was furious and refused to film. She appeared on the set on the day when the most difficult episode was being filmed - the death of the city of Insula Felice. The atmosphere was tense to the limit. Juliet said hello, sat down in the corner and took out some knitting from her purse. On the third attempt, Insula finally gave in, and the set turned into a hurricane of rocks and dust. The frightened horses almost swept away the cameras. After Fellini shouted: “Stop!”, Juliet calmly lowered her eyes and began knitting. "Satyricon", 1969 Mazina never became a movie star. Her professional life was limited to four big roles in films by one director. It’s not very offensive if you know that we are talking about a great actress. And an incredible amount, if you remember that we are talking about Fellini’s films. Gelsomina, Cabiria, Juliet, Ginger - these were their common children. Their declarations of love, which they never tired of exchanging throughout their lives. In 1963, the main prize at the Moscow International Film Festival was awarded to Fellini's film "8 1/2". But the maestro did not show up to present the prize. They say that when Fellini found out that Khrushchev fell asleep at the premiere of the film, he left with Juliet and friends to the dacha. “8/5” Fellini could burst backstage and fall to his knees in front of the unknown Nikita Mikhalkov, who staged “The Mechanical Piano” at the Roman theater. I could rent a room for a press conference in the most luxurious Hassler Hotel, because Chaplin and Audrey Hepburn stayed there. He ordered his famous red scarves from expensive studios. He was of little interest that Mazina, unlike other movie stars, had neither fur coats nor a scattering of diamonds. He preferred to live in the center of Rome, although Italians with wealth, or at least with its popularity, live in the suburbs. Juliet smiled, saved, accompanied Federico on the set, paying for tickets and hotels from her wallet, and spent the summer in her husband’s homeland in Rimini, and not in country house, which they never saved up for. The anniversary Oscar for his contribution to the development of cinema turned out to be Federico’s last award. After the presentation, he looked around the hall from under his glasses and shouted to her, who was sitting in the stalls: “Stop crying, Juliet!” All the cameras, as if on command, aimed their lenses at Mazina’s tear-stained face. But Juliet began to sob even more. “You have to be an idiot,” said composer Nino Rota, when all of Italy was discussing Stenbeck’s revelations, “to watch a man and a woman for so many years and not feel the falseness in their relationship. They have nothing to hide. They loved each other.” Federico Fellili and Giulietta Masina