My sense of late Fellini is that his filmmaking moved into a more determinedly nostalgic register — it’s certainly the feeling I got from 1973’s Amarcord — but if that’s the case, there’s still plenty of interest, much of it rather idiosyncratic. With And the Ship Sails On what we have is a story about the journey of a cruise liner in 1914, around the outbreak of World War I and the delineation of some of the class antagonisms onboard. Obviously, there are shades of another famous (real-life) story here, and some of the same terrain is covered: we have the plutocrats in their opulent dining rooms and cabins while beneath decks are men heaving coal into the boiler’s fires, and a boatload of Serbian refugees from the Austrian-Hungarian empire. Fellini’s style, though, is more playful, and the audience’s entry point is a journalist, Orlando, played with admirable campness by Freddie Jones — indeed, much of the core cast appear to be English actors, albeit dubbed into Italian. Orlando shares his commentary directly to the camera, but all the actors are aware of it and frequently break the fourth wall with nervous glances, as if they are being unwillingly shadowed by a film crew. There’s also a very obvious non-naturalism to the sets and the sea-bound effects, particularly in a sequence near the end, in which the waves are evidently tarpaulins, and a battleship’s smoke is drawn on. It all contributes to a precarious sense of a stratified society teetering on the brink of collapse, something perhaps summed up best by the opera-singing haute bourgeoise characters memorably showing off against one another in heated competition in the ship’s boiler room, egged on by the sweaty men below.
FILM REVIEW: Criterion Collection
Director Federico Fellini; Writers Fellini and Tonino Guerra; Cinematographer Giuseppe Rotunno; Starring Freddie Jones; Length 127 minutes.
Seen at a friend’s home (DVD), London, Sunday 23 August 2015.