[Quick Summary: After meeting a pretty young dancer, a poor stage manager mortgages all his relationships to create a stage show around her.]
After you've had 19 of your scripts filmed by other directors, what would you write for yourself in your directing debut?
If you were Fellini, it would be this script. It's a polished story, though fairly linear and grounded, compared to his later work.
I like that Fellini's scripts have a unity to them. It's like a tethered coiled spring that sprawls out in various directions, then is pulled back to home base.
The fight scene below is an example of this unity of story:
- Checco is a stage manager of a failing variety show.
- He is enthralled by Liliana, a dancer trying to get hired for his show.
- Despite the show failing, Cheecco is determined to cobble together a show to star Liliana.
- While Checco is running around finding variety acts and funds, Liliana is out dating a rich man who promises her her own show.
- Note how the scene is rather simple (Checco and Liliana fight) but it is HOW they fight that makes it entertaining.
- The scene starts with "is there an us?" --> sprawls outwards in large emotions --> but then comes back to answer the central question ("yes there is an us").
- Checco begins the scene jealous and wanting Liliana's praise ---> he gives his speech, rejects her --> she flatters him & talks about "us" --> he becomes so enthused, he's doubly committed to "us."
Liliana's pension. Outside. Night.
Checco reaches Liliana's pension and begins to pace fretfully up and down in the empty street.
Fade.
Liliana's pension. Outside. Dawn.
A car drops Liliana off near her pension. She is astonished and embarrassed to find Checco waiting at the door for her.
...She opens the door with her key; he steps inside with her.
LILIANA (dismissing him): Well, you'll call me. Goodnight.
CHECCO (not moving): Shall we go?
LILIANA (surprised): Go where? The landlady's asleep at this hour.
CHECCO (significantly): That's just as well... (Harshly.) Eh, my girl! What's got into your head, anyway? Just because I've always respected you, you think I'm a fool? Hah! ... (He angrily extracts a sheaf of photographs from his pocket and thrusts them into her hands.) Just look here, look here, there're thirty-two of them. Count them, count them: thirty-two women. Every one of them prettier than the next. And they were all in love with me. They loved me, they respected me! They thought I was the greatest thing int he world. But you... (Seizing the pictures.) Give 'em here! I've seen right through you, you know. You're a calculator, you add up your accounts in cold blood. All right. I'm adding up mine. I've done some favors for you, and since I do like you, whatever the reason...Then...tit for tat...let's go...
LILIANA (calmly): All right.
He starts to lead her up the stairs, but her ready response has astonished and painfully deluded him.
CHECCO (controlling his anger): So you...just like that, eh? You understand what I just said?
LILIANA (calmly): Yes.
CHECCO (turning on her): Goddammit!
The humiliation revelation of Liliana's character is too much for Checco: he slaps her in jealous rage, then starts back down the stairs. Liliana cries after him.
LILIANA (mortified and alarmed): Checco...oh!...oh! ,,,Checco, Checco, wait, don't be like that!
Checco stops, already repenting his action. Liliana tries to mollify him.
LILIANA: Come, sit down a moment.
He sits down on the stairs but avoids looking at her.
LILIANA (soothingly): All over? If it makes you feel any better, go right ahead and hit me. (In tender reproof.) You can't wear a beret with white tie! And you really shouldn't even have put on a white tie! (More confidently.) You know you're some funny fellow? Tell me, did you win all those thirty-two women with that beret on? (Seeing she has made a false step.) don't get mad, I'm just kidding. I'm kidding you like that because i like you. In my own way, of course. But you mustn't be jealous of everyone who'll want to help me. We two have so far to go. I know you've had bad luck and that you're good, very good. Just think of it, Checco...What success lies ahead!
CHECCO (still despairing): Where?
LILIANA (gazing into the glamorous future): Everywhere! In every theater we'll play in. With huge colored posters...and my name this high (Gesturing.) ...and yours too, in lights up on the marquee...
Checco begins to be caught up in her vision; he lifts his head and follows her rapturous gaze.
LILIANA: ...flashing on and off...and the house full...all full...and me coming down the ramp...all dressed in plumes...(Turning to him.) Look, Checco, I'm all goose flesh just thinking of it!
CHECCO (reciting from D'Annunzio): "The rain...the rain falls on the tamerisks, salty and sun-scorched; the rain falls on the myrtle divine..." (Again inspired with self-confidence.) Ah! I'm an artist, you know, and you're one too; you've still got rough edges...but you'll see, we two, together always...always...(Turning ecstatically to her.) I'll put together a company myself, I don't need anybody else...(Overjoyed at this inspired solution.) I'll set up my own company... I promise you.
Their reverie is interrupted as another lodger passes them on the stairs, forcing them to rise.
WHAT I'VE LEARNED: This fight scene runs rampant with twisty, turning emotions, but is tethered by the unity of story. It didn't leave the central conflict up in the air but answered it.
City Lights (1950)
by Federico Fellini, Ennio Flaiano, Alberto Lattuada, Tullio Pinelli
Story by Federico Fellini
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