Martin Scorsese writes about Federico Fellini and the lost magic of cinema

Martin Scorsese recently penned an essay for Harper’s Magazine, titled “Il Maestro: Federico Fellini and the Lost Magic of Cinema”.

In this heartfelt and extensive narrative, Scorsese reflects on the current state of cinema, the definition of content, and the individuals who have reinvigorated the seventh art. Central to his narrative is his friend, Federico Fellini, the director who inspired the title of his essay and who also happens to be his favourite filmmaker.

Scorsese, 78, whose films have drawn millions of viewers to movie theatres, sharing the dreams of artists and shaping their own, conveys the enchantment he felt as a young man, captivated by fantasy worlds in dimly lit theatres.

More than anything, Martin Scorsese longs to return to the cinema. However, this desire doesn’t prevent him from critically examining the current state of the entertainment world. He opens up a discussion about the evolution of what is considered content, and its transformation from an art form into something entirely different today.

“Cinema is one of the greatest treasures of our culture and should be treated as such. We can’t rely solely on the mass entertainment industry; we need to nurture cinema ourselves.”

“A David Lin movie, a cat video, a Super Bowl ad, a superhero sequel, an episode of a show – all these are considered content. The art of cinema is systematically devalued, neglected, downplayed, and reduced to the lowest common denominator with the term ‘content’,” Martin Scorsese argues. He explains that while the term has permeated the collective consciousness, it’s crucial to differentiate between the various types of content.

He highlights that the problem posed by the proliferation of modern media – be it television, social media, or film – is not about the sheer volume of content they distribute, but about the nature of the content itself – its quality, or lack thereof, and its lack of evolution.

“Cinema has always been and will always be more than just content. The years when films from around the world were produced, conversing with each other and constantly redefining the art form, serve as proof,” Scorsese asserts, clarifying that this is the kind of cinema he yearns for.

Scorsese’s remarks about Marvel’s 2019 films in Empire magazine stirred quite a controversy. “This isn’t cinema,” he had stated, “it’s theme parks. Frankly, that’s the closest description I can think of.”

Despite the commendable efforts of the actors, it’s not the cinema of individuals attempting to share emotional, psychological experiences with another human being,” he observes.

The director of iconic films such as Taxi Driver, Raging Bull, and more recently The Irishman, prefers the darkened ambiance of New York theatres to streaming platforms. He believes that the current coronavirus pandemic has resulted in this year’s deserving films being relegated to TV screens instead of being showcased in cinemas.

Scorsese may appear unwavering in his views, but he acknowledges that his film The Irishman would not have reached theatres without the financial backing of Netflix. His relationship with Netflix and the modern digital age seems to be “smoother” today. His new production “Pretend It’s a City” is currently streaming on the platform. In this series, he converses with his friend, the iconic New York author and raconteur Fran Lebowitz, about their shared city in seven delightful half-hour episodes.

The difference between a Fellini film and a Marvel film can be vast, but that doesn’t necessarily diminish either. This diversity is part of the charm of cinema. If Scorsese struggles to connect with Marvel films, he acknowledges that others may find themes of love, human nature, or even climate change within these modern blockbusters. However, for Scorsese, the emotional resonance found in a film like Fellini’s 8½ is unparalleled.

In his essay, Scorsese extols legendary Italian filmmaker Federico Fellini as an exemplar of the enduring magic of cinema. He writes passionately about a figure who inspired him, graced him with his friendship, and whose work he has studied meticulously, demonstrating his deep admiration for every frame of Fellini’s films.

“At the core of it all was a director everyone recognized, an artist whose name was synonymous with cinema and its potential. His name alone conjured a certain style, a specific worldview. It even became an adjective. To describe the surreal atmosphere of a dinner party, a wedding, a funeral, a political rally, or even the madness of the entire planet, all you had to do was utter the word ‘Felliniesque’, and people knew exactly what you meant,” he writes.

“In the sixties, Federico Fellini transcended his role as a director,” Scorsese writes. “Much like Chaplin, Picasso, and the Beatles, he became a figure larger than his art. His subject matter expanded beyond individual films; all his films collectively represented a grand gesture written across the cosmos.”

Watching a Fellini film is akin to experiencing Callas’ music, Olivier’s acting, or Nureyev’s dancing. This distinction led to his name becoming synonymous with his films, resulting in titles like Fellini’s Satyricon and Fellini’s Casanova. The only other director to accomplish this was Hitchcock, but his name represented a brand, a genre unto itself. Fellini, on the other hand, was a virtuoso of cinema.”

Scorsese made these remarks while praising the Essential Fellini edition, released by Criterion last year to celebrate the centenary of the Italian director’s birth. The release came at a pivotal time, especially considering Fellini’s influence has been long overdue for recognition.

“Those of us who understand cinema and its history have a duty to share our love and knowledge with as many people as possible,” writes Scorsese.

“Everything has changed – cinema and its role in our culture. It’s not surprising that artists like Godard, Bergman, Kubrick, and Fellini, who once held sway over our art form like gods, would eventually fade into the background as time passed.”

“Cinema is one of our culture’s greatest treasures and should be treated as such. We can’t rely solely on the mass entertainment industry; we need to nurture cinema ourselves. We must make it clear to the current legal owners of these films – be they studios or streaming services – that these works are far more than just properties to be exploited and then locked away,” Scorsese writes, urging action and addressing the companies that prioritize profit over artistry.