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    And the Ship Sails On (1983)

    Posted By: Someonelse
    Date: 24 Jul 2011 20:44:07
    And the Ship Sails On (1983)

    And the Ship Sails On (1983) [The Criterion Collection #50]
    A Film By Federico Fellini
    DVD9 (VIDEO_TS) | NTSC 4:3 (720x480) | HQ Cover + Booklet | 02:07:23 | 7,10 Gb
    Audio: Italian AC3 1.0 @ 128 Kbps | Subs: English
    Genre: Comedy, Drama, Music | 10 wins | Italy, France

    In Fellini’s quirky, imaginative fable, a motley crew of European aristocrats (and a lovesick rhinoceros!) board a luxurious ocean liner on the eve of World War I to scatter the ashes of a beloved diva. Fabricated entirely in Rome’s famed Cinecittà studios, And the Ship Sails On (E la nave va) reaches spectacular new visual heights with its stylized re-creation of a decadent bygone era.

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    A luxury ocean liner embarks on a voyage to the island of Erimo, carrying various aristocrats, composers, opera singers and performers as they take the ashes of famed soprano Edmea Tetua to be scattered at the place of her birth. However, Fellini's E la nave va (And The Ship Sails On) is less concerned with the destination and more with the journey. Initially, moving at a slow pace, the tone shifts noticeably with the arrival on board of a group of Serbian refugees, fleeing from their homeland on the eve of World War I.

    And the Ship Sails On (1983)

    We are introduced to this menagerie of the rich and the very rich by Orlando (Freddie Jones), a journalist who, like us, looks in from the outside, and acts as a narrator throughout. He wanders the ship with a cameraman, attempting to interview the passengers, but more often than not, merely observing their behaviour. The first half of the film contains some glorious set pieces, in particular a wonderful wine glass concerto played out in the galley and an impromptu performance in the ship's boiler room, as each opera singer competes in turn to impress the workers below with the range of his, or her, voice.

    And the Ship Sails On (1983)

    Perhaps the strongest focus of the film is on the absurdity of the upper classes and their ignorance of what is happening in the world. This is reflected no better than in Orlando's interview with the Austrian Grand Duke. Communicating through a translator, a series of comic exchanges means that by the end of the interview neither party has a better idea of what the other was saying than when they started.

    And the Ship Sails On (1983)

    The rescuing of the Serbian refugees on the third night seems the perfect opportunity for a social commentary on the class divides, but such juxtaposition is rarely offered easily. One of the few exceptions is when the Serbs huddle outside the dining room, peering through the windows as the elite dine to excess, which is followed by an unexpected gathering of the two groups on deck. As both mix freely amongst an atmosphere of music and dance, this is possibly the first indication that all on board are now aware that everything is about to change. Indeed, as the ship sails on, carrying the last remnants of this bygone era of luxury and extravagance, the film's final scenes become all the more poignant.

    And the Ship Sails On (1983)

    From the brilliant opening, filmed in the style of an old silent movie, gradually blending in sound and colour, as the passengers board the ship, to the grand operatic finale off the island, E la nave va is a pure visual treat. The experience is heightened further by the musical accompaniments, particular the opera pieces from Verdi's La forza del destino, Rigoletto and Aida, but also Fellini's choreography of these scenes; the actors moving perfectly in time to the music.

    While it is fair to say that the film lacks a substantial plot, or depth to any of its characters, Fellini's visual imagination and creativity remain a sight to behold.
    Steve Harwood, Eye For Film
    And the Ship Sails On (1983)

    Conventional knowledge has it that the only film of Fellini's worth a damn after 8½ is Amarcord. Earlier this afternoon, I would have gladly agreed, but tonight I have discovered that this is a fallacy. I present to you And the Ship Sails On…, a film that is not only to be ranked alongside Fellini's permanent, almost unquestionable masterpieces, La Strada, Nights of Cabiria, La Dolce Vita, 8½, and Amarcord, but one to be ranked among the best works in cinema. Perhaps this is the most underrated film ever made by a true master, the man who literally was the first filmmaker to be called "auteur" by Andre Bazin in an article about Nights of Cabiria.

    And the Ship Sails On (1983)

    I would describe this film as a close relative of Amarcord's. The style of characterization is identical - instead of of a close character study, the sort of characterization most film lovers tend to like, the characters in these two films are drawn more broadly, with more attention paid to unique physical features and behavioral quirks. This is all in an attempt to have the audience identify the characters - or, more precisely, caricatures (before he made movies, Fellini worked as a caricaturist on the streets of Rome) - in a stereotypical way. Take Titta's parents from Amarcord - they're whom we might draw if we were asked to draw bickering parents. Take the Duke from And the Ship Sails On - could you imagine a teenage, Teutonic duke any other way than Fellini presents him? You could also take it the other way - when you see this odd fellow on screen, do you have any doubt that he is Germanic royalty? The visual style is also similar to Amarcord's - that one was painted with cartoonish colors. And the Ship Sails On is also very colorful, but the palette is more specified here - a beautiful canvas of blue-grays and whites.

    And the Ship Sails On (1983)

    The narrative styles of the two films differ quite a bit, but still are similar. Amarcord taps the vein of nostalgia - perhaps the most untapped of human emotions - for its affect. And the Ship Sails On seems to be going for absurdist, surreal satire. It's a genre that is more or less dead in the world of cinema, which is why, I assume, this film was such a bomb in 1984 and is relatively unknown today. Why satirize the aristocracy of the WWI era anyhow? That's a good question, but one that is not difficult to answer. I don't believe that Fellini meant the film as any kind of biting satire. It's all done in fun, although the juxtaposition of the rich with the Serbian refugees, whom the ship's crew finds afloat on sinking rafts one night, does ring with a certain painful and ironic truth about how the rich see the poor. Still, even though we might scoff at the way the aristocrats try to trace the roots of Serbian dances back to ancient times, the scene immediately following it, where those aristocrats go down on the deck to dance with the Serbians, is very entertaining and beautiful. The music in that scene, in fact, the music throughout the entire film, made me want to clap and dance. The actors move rhythmically as they progress through the film. I also have to add that Fellini never made a funnier film, at least of the ones I've seen, which are a majority of them (Toby Dammit of the omnibus film Spirits of the Dead comes very close).

    And the Ship Sails On (1983)

    Most of this film's greatness lies in individual scenes, and thus, as you might guess, the sum is not exactly equal to the parts - at least as far as I saw, there's no real point - the substance is thin. But when style is this beautiful, I say screw substance. Each individual scene ranks among the best ever put to film - the wine glass concert, the scene where sunlight brightens one half of the ship and moonlight the other, the boiler room scene where the great opera singers compete vocally in order to impress the sailors below, the interview with the duke, and the opera singer's funeral. Each scene is so exquisitely created by Fellini and every other artist involved that it is entirely forgiveable if the audience remembers those individual images rather than an overall effect. For me, the combination did have an overall effect: I was so awestruck that I was weeping, though there was nothing onscreen to weep at. 10/10.
    IMDB Reviewer
    And the Ship Sails On (1983)

    Disc Features:
    • New, restored high-definition digital transfer
    • New and improved English subtitle translation
    • 6-page liner notes with Fellini comments
    And the Ship Sails On (1983)

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