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.
Fellini's first film in color is this brilliant LSD-infused satire that enchants us with its gorgeous art direction and colorful costumes, while using a magnificent symbolism to depict the psyche of a passive woman who needs to break free from the bonfire of her married-life martyrdom.
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Federico Fellini looks at a mousy wife's fantasy life; her unconscious
seems to be stuffed with leftover decor from MGM musicals. A peculiarly ungallant film. With Giulietta Masina, and Sandra Milo, Valeska Gert, Lou Gilbert, José-Luis de Villalonga, Sylva Koscina, Valentina Cortese, and Friedrich Ledebur. Cinematography by Gianni Di Venanzo; music by Nino Rota. Written by Fellini, Ennio Flaiano, Tullio Pinelli, and Brunello Rondi. In Italian.
The visuals were pretty and I liked that it was female-driven, but I just didn't understand so much of it. Hmmmm
Fellini does 8 1/2 with women, shot in technicolor. Sound good? It is. Very good.
Apparently this was the first film Fellini made after getting right into LSD and it doesn't show one bit...
Not his best work but a remarkable film that's very mysterious and enchanting and that would have to be my personal favourite of Federico Fellini's...and it shows just how much he adored his wife, Giulietta Masina, and that he could have the astute sensitivity (much like Martin Scorsese later would in 'Alice Doesn't Live Here Anymore') to tackle women's issues in an effective yet beautiful manner that's uniquely his own.
The film would lose in its two Oscar nominations, for Best Colour Art Direction-Set Decoration and Best Colour Costume Design, to 'Fantastic Voyage' and 'A Man for All Seasons', respectively. Essential both for purchase and re-watches for any serious investigator of great foreign cinema...and I for one can't wait until The Criterion Collection gives it a blu ray upgrade, with hopefully a truckload of new supplements. =)
Meandering, vivid, ambitious, messy, self-conscious and self-aggrandizing all in one. This is Fellini definitely in the post-Dolce Vita - 8 1/2 mode.
I didn't love this one and I think it might be because I have been on a Fellini kick as of late and perhaps I've reached my quota for his whimsy and pontifications. Or maybe it's because I like him best when he's more interested in the struggles of the destitute rather than peculiarities and hypocrisies of the bourgeoisie.
Masini is also not at her best. Perhaps this was not within her range. The been there done that role of a broken woman who is barely holding on suit her a lot better in NIGHTS OF CABIRIA when she was allowed to infuse that character with sass and spunk.
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.
Those below are not available on the site (from what I can tell).
24 Frames Per Century
Black Something (Zellners)…
UPDATED: December 4, 2016
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…