All the films from all the editions, including those subsequently removed, presently totalling 1187. 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.
Giulietta degli spiriti (1965)
Fellini uses his characters, their flamboyancy, their smiles, their bosoms, their makeup, their outlandish houses... all elements that he has chosen and used all throughout his career thus far, but instead of making social critique, or having them as the dream that everyone wants to achieve... but now they're used to construct a steady world that suddenly explodes into a full nightmare. My favorite Fellini so far.
A woman is helped by the ghosts of her past and new friends to understand that she deserves to be loved. I would love to party with Fellini women.
The rather thin screenplay keeps this from being one of Fellini's finest, but it remains a strong vehicle for Fellini's wife, the marvelous Giulietta Masina as a woman who fears her husband is unfaithful. As reality merges with fantasy, Fellini, in his first color film, masterfully combines intense color images.
Maybe it was an unwieldy length which made the film seem to go on for fucking ever (even though it was actually a minute shorter than 8 1/2), the assorted play on stuff we've already seen in La dolce vita and 8 1/2, or the episodic structure which made the film's pacing difficult endure, but I found Juliet of the Spirits to be unfortunately an uninvolving affair. Despite some fantastic dream sequences and an offbeat surreal aspect to the proceedings (which seems to exclusively mark Fellini's later work and something he do rather effortlessly), the film was superficial and focused on a protagonist who I neither cared for or could identify with.
I've also noticed by this point that Fellini…
Surreal and magic, great main character also :^D
A sumptuous, moody film from Fellini. It's really wonderful seeing the 8½ thing with a female protagonist, and Fellini's real-life wife, Giulietta Masina, is utterly heartbreaking with her big sad eyes and unassuming loveliness. She anchors the film into reality while everything around her veers in and out of subjective memory. Stunning production values, of course, and a terrifically layered script, even if it's not quite as emotionally enthralling as Fellini's best films.
Colorful tease that delivers anything but a promise of erotic follow-through. A parade of beautiful creatures but not much else. Bizarre costumes and headgear keep you involved. Fellini must have taken acid before he filmed most of this.
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.
Movies that are slightly off.
UPDATED: October 21, 2016
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