All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Juliet of the Spirits
Fellini's Masterpiece !
Visions, memories, and mysticism all help a 40-something woman to find the strength to leave her cheating husband.
Included In Lists:
Criterion Collection - #149
Review In A Nutshell:
Juliet of the Spirits is the story of a woman who suspects that her husband may be having an affair.
The film featured a strong premise but sadly its plot and direction was a bit of a mess. The film's story explores ideas of infidelity, which was the main key that kept me engaged throughout; scenes are delivered to emphasise this but Federico Fellini, the director, restrains it too heavily and instead pushed forward the protagonist's psychological and spiritual conundrums. I am all for a deep character study but for me to engage a film in that way, the film's story should be much simpler and letting the film's…
#4 of 100 in my Top 100 Directors Challenge
What a letdown. I absolutely loved Giulietta Masina in "Nights of Cabiria." I've enjoyed Federico Fellini's later films in color, especially "Roma" and "Amarcord." I noted that this picture won the Golden Globe for Best Foreign-Language Foreign Film. I also read the cover of the Criterion Collection DVD that indicated the director's very first Technicolor film was a "hallucinatory journey of self-discovery," making me think of the drug mantra of the Sixties: tune in, turn on, drop out. But no ... none of that.
In fact, this is a perfect example of Fellini's hubris at its most extravagant -- a manifestation of his self-indulgence brought on by the success of 1963's…
Behind me now stand Fellini’s most lofty pictures of the 60’s and I’m still relishing the time I have left in the Italian dreamer’s mind. Giulietta degli Spiriti is perhaps the most symbolic and idiosyncratic example of his mind and probably of all Fellini features – and, believe me, that is saying a lot (some of his later works are truly bonkers).
For that straightforward reason I don’t really get why so many cinephiles, including and even especially fans of Fellini, don’t consider this a fine motion-picture. Is it not one of the most prolific films Fellini produced?
It is rather impossible to contradict that, for Giulietta degli Spiriti is teeming with cyphers, quirkiness and unconventionalities: falcon statues with breasts,…
Happy Belated Frederico.
What a beautifully manic film. Lending to his background in the circus, Fellini is the master of colorful, audacious worlds, and Giulietta degli spiriti, is perhaps his highest achievement in that regard. Focusing on a housewife's slowly shattering world, Fellini's story is vivid and enthralling. Liberated by her next door neighbor, Giulietta slowly becomes aware of her previously unseen surroundings, some of which are based in reality, and others that are specters of the past.
Oh, how I love Giulietta Masina.
"Such a good little housewife".
Fellini didn't need color but it appears that color needed Fellini - match made in Heaven. Seeing his debut in these new shades is a cinematic treat especially since the plot and themes seem kin to his most popular pictures.
When a devoted wife (Masina) begins to suspect her husband is being unfaithful, her mind begins to work overtime. For help, she begins inviting everyone into her personal life from private detectives to lurking spirits. Then, she begins to crumble on the inside while maintaining her composure on the outside. Masina, once again, shines as the vulnerable yet strong willed centerpiece to a dominated relationship. Her drive to find…
As I hit the computer keyboard, I am both gobsmacked and apologetic. Every key-tap is shamefully mortifying; every spacebar is unnerving; and every glance at the screen is daunting - and the big reveal is yet to surface. It beckons with each dragging line of words. It's all too irrelevant. Can't it stay a secret? Is it need to be said? Again, this is irrelevant. What's a review without the open hush-hush? It has to be said.
I have now entered the world of Federico Fellini.
Mystical delight in every sense.
Federico Fellini's Juliet of the Spirits was probably the most eagerly awaited picture of the year. The Venice and New York Film festivals panted for it in vain, and now Fellini has been given the Great Director treatment in New York by a local ad agency hired by the Rizzoli interests. Fellini is certainly nothing if not ambitious. If La Dolce Vita was meant to be his Inferno, and 8 1/2 his Purgatorio, then Juliet [or Giulietta] of the Spirits is clearly his Paradiso, or, if not his, at least his wife's.
I may have been too hard on La Dolce Vita several years ago when I observed: "Fellini undertook in La Dolce Vita to provide a Dantean vision…
A slippery, elusive, maddening little bauble with an all but nonexistent narrative that makes less sense the more you think about it and even less sense upon rewatching. Yet it's gorgeous, at times transcendent, drenched in trippy technicolor imagery. Also tits in vast quantity/quality. All the fun and nutrition of a candy bar.
Rewatched with Lauren for our Fellini series.
Fellini's followup to the masterful "8 1/2" seems like sort of a re-tread, this time dealing with the imaginings of a bored housewife who suspects her husband of cheating. While beautiful to look at, I felt it was overlong and too obscure for me to care about most of what was going on. Nino Rota's score is beautiful, and there are some magical scenes, but the slow pacing and repetitive camerawork makes it a chore.
i LOVED the colours so much! and it was such a fun story. im glad all fellini's movies aren't like "la dolce vita", phew!
Wow. I may have little understanding of what exactly this film is about; I just know I like it. Imagery, great, rich imagery. Costumes, big, exquisite, eccentric, poetic. Makeup, extreme, vicious, campy, empowering. overpowering. Dreams, fetishes, sexuality, class, nightmares, romanticism, it's all there, and more in Federico Fellini's masterful film JULIET OF THE SPIRITS (or its original title: "Giulietta degli spiriti").
Watching this 1965 classic was akin to experiencing Federico Fellini for the very first time. In my younger days, I had watched 8 1/2, LA STRADA, LA DOLCE VIDA, FELLINI SATYRICON, and INTERVISTA. I was no stranger to the legendary Italian filmmaker's work. However watching JULIET OF THE SPIRITS this evening, it was a rebirth, a reckoning, a rediscovery…
Calling Juliet of The Spirits a masterpiece is an understatement, it's much more than that, it's an emotional experience like an orgasam or hearing beautiful music or a beautiful day with someone you love. It is my favorite film of Fellini's. The film is about a neglected housewife and her spiritual life, her dreams, her fears and insecurities. It is about a woman who is stuck in a marriage with a unfaithful husband and her lack of courage to escape this loveless marriage. The movie is visually one of the most original films I have ever seen. Fellini's use of color is extraordinary. The score by Nino Rota is intoxicating. Giulietta Masina as Juliet is stunning. She may be even…
Nothing is developed. Every concept this film contains is introduced within the first 15 minutes and these concepts become tools of tedium soon after. Giulietta Masina is directed horribly. Fellini doesn't utilize her enormous talent for powerful and affecting facial expressions, but instead has her project a dull series of basic emotional reactions. Her dialogue is devoid of wit or prosody or novel observations. The development from her confusion to her liberation is so poorly paced and lacking in any focused conflict that the palatial world Fellini crafted can't carry film past the lack of anything compelling going on. A sentiment of personal autonomy runs within the film, which I support, but none of the film's components contribute to communicating…
While Juliet of the Spirits cannot touch 8 1/2's stature, it's a suiting follow-up to Fellini's masterpiece. The idea of gender roles in Italian culture is a prevailing theme that runs through the bloodlines of both films. This theme gets even more interesting when you mix in Fellini's own relationship with the star of Juliet of the Spirits, his wife Giulietta Masina.
8 1/2 delved into the male perspective of a director, which included his conquest of various women. The director was seemingly an omnipresence among the Italian female race. The script gets flipped with Juliet of the Spirits and now we see the female perspective. A woman who is slowly becoming empowered due to her philandering husband. The latter…
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