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A hundred years Fellini, here are the car of the Sweet life
From the new Ferrari Rome the Fiat 500-the polo necks, the tributes of the car - even recent ones - for the vehicles of the Dolce Vita that Fellini was born on 20 January 1920 in Rimini, and we are in full celebration of the centenary) has captured to perfection by identifying a historical period with his film: the 60's, a decade in which the Italian film industry, describing the company, also through its cars, recently become a mass product.

So-CarGurus - one of the main marketplace to drive at the global level - has wanted to bring your own personal tribute to the centenary of the birth of Federico Fellini, retracing the main drive that have characterized the textures of "La Dolce Vita".

The Italian cars. There are many cars brought to the screen by Fellini, Italian and not only. Between the national there you can forget the Giulietta Spider of 1955. It was a very successful model, where the first prototypes were fitted with a panoramic windscreen style America and glass in side sliding doors that linked to the roof; then later modified with a windshield is more flat and the side windows descendants in the crystal.

Among the other Italian place in the Sweet Life, a special mention must be given to the Alfa Romeo 1.9 TI and the Autobianchi Bianchina Transformable 1957. Conceived as a luxurious version of the Fiat 500, which used the chassis and the mechanics, the Bianchina was proposed in the one body, 3 volumes, with the rear fins, plenty of chrome and a sunroof in a canvas.

there is also the Fiat that appear in the film, including the 1100 Family (1958) and the 1100 S Family of 1954, and not forgetting the Fiat 500 B 1948. Its peculiarity was that the engine had a new cylinder head was cast iron with overhead valves controlled by pushrods and rocker arms and could reach a maximum speed of 95 km/h, with lower power consumption compared to previous models.

And the american cars? Many, many: spread between the different brands: Cadillac Series 62 1958, with the engine installed in the front and with the rear-wheel drive, a Chevrolet Corvette 1956, and two Ford of 1958, a Fairlane 500 and Thunderbird. The Ford Thunderbird was designed to compete with the all-new Chevrolet Corvette. It appeared as a convertible two-seater with features more sports than those of the Ford of the time. Even if you are more the sporty - Ford chose to put emphasis on comfort and convenience.

In the film appear, in addition, three-car british, a Jaguar XK 150 of 1957, an MG TD, 1950, and - the most famous - a Triumph TR3 1958.
The latter was considered by many to be the real co-protagonist of the Dolce Vita of Fellini, presented as a successor to the TR2. One of the first cars of the big range with disc brakes; a roadster with a good quality road, who had also enjoyed considerable success in competition within the competitions of prestige throughout the world.

In 2016, the same car was sold for a little over 30 thousand euro. Seems to be his new buyer has only discovered by chance that the old owners used to be the home of production Riama Film of Angelo Rizzoli, that has produced the Sweet Life. The confirmation has arrived attraversio the extract chronological order, from which it appeared that the first plate of the car was "324229 Rome" and, therefore, was the Triumph used in the famous film.

La Dolce Vita has represented the joy of life which marked Italy in the years of economic boom, between the years 50 and 60. The years in which Rome became a protagonist of the scene, also thanks to Cinecittà and many american film productions, who had moved there from Hollywood studios.
In the collective imagination, the image of Marcello Mastroianni that brings Anita Ekberg through the streets of Rome on his Triumph TR3 will remain vivid and will always be representative of the well-being of that time, is also evidenced by the drive that have characterized it.


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Carlo Verdelli SUBSCRIBERS TO REPUBLIC © Reproduction reserved Today on The challenge of Di Maio: “A new Movement with a committee to guide” From Hanger to Shackle: the network of mayor Hall in the sign of the pragmatism Which left for the Country that seeks to change Martina: “Well, the box with a Shackle and the civil society” Sardines, speaks Santori: “We will be more them will fight again"
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