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!

My score of 5 does not mean that "The Orchestra Rehearsal" is a mediocre film--it's more a score reflecting how enjoyable the film would be for most folks. Most people would be confused and somewhat bemused by the film....and by the time it's over, they'll be wondering whether or not they liked it. It is clearly NOT a film for the average viewer--and the same can be said of many other Fellini films--where surrealism takes precedence over story.

When the film begins, it appears to be a rather ordinary documentary. Various orchestra members talk to the camera and explain in rather ridiculous manners who important their particular musical instrument is. Practically all of them think theirs is the best and ascribe lots of nutty attributes to it. It's mildly, very mildly, amusing. However, as the film progresses, it appears as if the filmmakers took drugs--and the more the film progresses, the more the drugs take effect!! Suddenly, the orchestra degenerates--as if the members are mostly petulant children. What does it all mean? Well, perhaps nothing--or perhaps it's all about the dangers of a truly socialist system. Who knows? Overall, this is a mega-weird film--even by Fellini standards. Unless you are a huge Fellini-phile, I doubt if the film is one you'll adore. Not badly made, but strange. If you like "And the Ship Sails On" or "City of Women", you'll love this film. If you don't like these films, then "The Orchestra Rehearsal" is probably not for you.

I do say this as a great admirer of Fellini's films in general. Prova D'Orchestra perhaps could have had more time to breathe for the audience, sometimes we do get the sense that we are told so much that by the next bit of information we are still trying to take in the previous. The conductor did have potential to be insightful and interesting, in most documentaries on orchestras or a certain composition or composer the conductor usually is that, but I personally did find him underdeveloped. However there are some undeniably great things about Prova D'Orchestra. It looks gorgeous, filled with shots that are distinctively Fellini(see the long-takes) and lovely scenery. Fellini's direction is as ever great, his style is definitely all over the film and it's quite nostalgic and diligent. The orchestra members' interviews are much more interesting than those of the conductor's, they do have much to say, you can tell they love it and there are bits of humour as well. I didn't quite get that sense with the conductor's monologue in the dressing room really. The basic story is not exactly new, with the whole idea of rebelling against someone, but much is done with it to make it fresh and accessible also to mainly those who take an interest in orchestral music. Which brings me to the music. The best asset of the movie for me. Maybe I'm biased as music has always held a big place in my heart and I will be doing it professionally after my degree, and I have always since The Godfather loved Nino Rota's compositions. Not only is the music beautiful but there are also some subtle humorous injections, which I found pleasing. So all in all, a very interesting Fellini film, but not one of my absolute favourites of his. 8/10 Bethany Cox