IMDb RATING
7.1/10
5.2K
YOUR RATING
An orchestra assembles for a rehearsal in an ancient chapel under the inquisitive eyes of a TV documentary crew, but an uprising breaks out.An orchestra assembles for a rehearsal in an ancient chapel under the inquisitive eyes of a TV documentary crew, but an uprising breaks out.An orchestra assembles for a rehearsal in an ancient chapel under the inquisitive eyes of a TV documentary crew, but an uprising breaks out.
- Awards
- 1 win & 2 nominations
Nando Villella
- Cello player
- (as Ferdinando Villella)
Franco Javarone
- Bass tuba player
- (as Giovanni Javarone)
Andrew Lord Miller
- Oboe player
- (as Andy MIller)
Cesare Martignoni
- Clarinet player
- (as Cesare Martignon)
Filippo Trincia
- Head of orchestra
- (as Filippo Trincaia)
Storyline
Did you know
- GoofsWhen they are interviewing the first violinists, the harpist in the background is clearly not playing but harp music is audible.
- ConnectionsFeatured in In Search of Fellini (2017)
Featured review
Some fully creditable critics deemed "Prova d'orchestra" as being Fellini's main masterpiece. Although recognizing their slight exaggeration, I still can fully empathize with their point. The movie is one of the most intelligent, stylish and personal instances of the much used (and abused) recipe of the "social microcosm". Of course, Fellini's trick to build up a parable of society by using the orchestra parallel is not only original, but also very efficient: the metaphors and symbols resulting from this are both powerful and humorous, in an atrociously satyric vein.
Also, it's very interesting to note the gradual glissando from realism to hyperbole, and from cold detachment to paranoid hysteria; as such, what started as a pseudo-documentary, impartial and technical, gradually turns into a major pandemonium, to culminate with the hallucinatory profiling of the demolition iron ball, as an omen of doom - that being the point where the artist really meets the divine, both as meaning, and as means.
One should also notice the masterfully style of shooting the orchestra, the people and the instruments, to build up the cinematographic symphony layered over the musical one, and to create that irresistibly fast-paced narrative in images, that makes the movie so exciting and captivating - it's literally to be watched on the edge on your seat, although nothing more spectacular happens than an orchestra rehearsing in a disaffected church... all being the result of Fellini's skillful cinematography.
At last, one couldn't depart any reference to this masterpiece without mentioning at least in passing the haunting finale. Although I always regarded with political objectivity and historical honesty the national-socialist ideology, goals and means, I must confess that I fully assimilate Fellini's powerful warning about any dictatorial excesses. Balduin Bass' voice rising in a Hitlerian monologue is an efficient and pointed mean of expression and style - and his last line after fade out, "Signori... Da capo!", indeed MAKES A POINT!
Also, it's very interesting to note the gradual glissando from realism to hyperbole, and from cold detachment to paranoid hysteria; as such, what started as a pseudo-documentary, impartial and technical, gradually turns into a major pandemonium, to culminate with the hallucinatory profiling of the demolition iron ball, as an omen of doom - that being the point where the artist really meets the divine, both as meaning, and as means.
One should also notice the masterfully style of shooting the orchestra, the people and the instruments, to build up the cinematographic symphony layered over the musical one, and to create that irresistibly fast-paced narrative in images, that makes the movie so exciting and captivating - it's literally to be watched on the edge on your seat, although nothing more spectacular happens than an orchestra rehearsing in a disaffected church... all being the result of Fellini's skillful cinematography.
At last, one couldn't depart any reference to this masterpiece without mentioning at least in passing the haunting finale. Although I always regarded with political objectivity and historical honesty the national-socialist ideology, goals and means, I must confess that I fully assimilate Fellini's powerful warning about any dictatorial excesses. Balduin Bass' voice rising in a Hitlerian monologue is an efficient and pointed mean of expression and style - and his last line after fade out, "Signori... Da capo!", indeed MAKES A POINT!
- Mihnea_aka_Pitbull
- Dec 5, 2008
- Permalink
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Details
- Release date
- Countries of origin
- Languages
- Also known as
- Federico Fellini's Orchestra Rehearsal
- Filming locations
- Production companies
- See more company credits at IMDbPro
- Runtime1 hour 12 minutes
- Sound mix
- Aspect ratio
- 1.37 : 1
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