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.
This review reportedly contains spoilers. I can handle the truth.
Looks like a lot of work
Synopsis: Juliet (Giulietta) is an Italian housewife who suspects that her husband is unfaithful but is unable to face up to it fully. Prone to daydreaming and fascinated by sances and spiritism, she begins to open up to the possibilities of life when she meets Suzy, her colorful, sexually liberated neighbor.
Federico Fellini deliberately conceived of his first color film, Juliet of the Spirits (1965), as the second half of a diptych that includes 8 1/2 (1963). This time, however, it depicts the wife's rather than the unfaithful husband's point of view. Underlying structural parallels between the two films abound: both involve the eruption of dreams into daily life, the revisiting of…
A handful of nice ideas can't keep this from being one of my largest disappointments of the year. Not even Nino Rota and Giulietta Masina could really light this thing for me. How totally disappointing.
As I've worked my way through Fellini's catalogue (starting with La Strada and now up through Juliet of the Spirits), it has become apparent that I'm watching a director who feels less and less restrained by the limitations of conventional narrative. Elements of surrealism exist in most of Fellini's work, but with 8 1/2 and now Juliet of the Spirits, things have progressed to the point that what you see on screen is really a patchwork reality weaving elements of Fellini's life and imagination into the narrative of the film. He has now thrown off all constraints and dove headfirst into a pure expression of whatever is on his mind. Someone of his audacity and talent is capable of reaching…
Fellini and his women!
It's pretty much impossible for me not to enjoy any film starring Giulietta Masina on some level. She has one of the all-time great faces of cinema, impish and playful one moment, devastating the next. Fellini apparently wrote this role for his long suffering wife as both a love letter and apologia and it's a bit of a self-serving one by the end. But it's still rare to see a film privilege the female psyche so singularly, even if its depiction of infidelity doesn't always ring true to modern sensibilities about the sexes. Colorful, discursive, curious in the way all great Fellini films are, even if it doesn't quite reach the heights of his masterpieces.
Bizarre and in dreamlike technicolor, Juliet of the Spirits is a little more accessible than 8 1/2, but, conversely, a little less interesting.
For Fellini's first full length color film, he went ahead and used just about every shade of every one. Juliet of the Spirits may appear poppy and bright on its surface, but this film actually really depressed me. It tell the story of a middle-aged woman coping with her discover of her husbands philandering ways. How she deals with it is through other-worldly images of spirits, ghosts, and visions of the past. She's confused about what her next step in life is, whether or not to express her sexuality more or delve deeper into a religion she may have dropped along the way. But as is in life, there really is no right or wrong choice. And that can be…
Fellini at his most bombastic. Reads like a comedy at times. Its images are dreamlike. A good example of "hallucination" tropes working.
A big collection of films that might be considered as strange, mindfucking, surreal and weird. Sorted by year. Suggestions are…