The world's most talked about movie today!
Episodic journey of an Italian journalist scouring Rome in search of love.
Episodic journey of an Italian journalist scouring Rome in search of love.
Marcello Mastroianni Anita Ekberg Anouk Aimée Yvonne Furneaux Magali Noël Alain Cuny Annibale Ninchi Walter Santesso Valeria Ciangottini Riccardo Garrone Ida Galli Audrey McDonald Polidor Alain Dijon Mino Doro Giulio Girola Laura Betti Nico Domino Carlo Musto Enzo Cerusico Giulio Paradisi Enzo Doria Enrico Glori Adriana Moneta Massimo Busetti Lex Barker Jacques Sernas Nadia Gray Show All…
露滴牡丹开, Tatli hayat, Ihana elämä, Sladký zivot, Sladak život, The Sweet Life, Tkbili tskhovreba, Sladko zivljenje, Slodkie zycie, La dulce vida, Amai seikatsu, La dolce vita - Tkbili Tskhovreba, La douceur de vivre, Сладък живот, Het zoete leven, Federico Fellini's La Dolce Vita, Fellini's La Dolce Vita, Fellinis La dolce vita - Das süße Leben, Het Zoete Leven, Fellini: Az édes élet
Slight spoilers in the last paragraph.
Our modern malaise is all-encompassing self-pity. I went through it last year: what was the point of wanting things if you were never going to get them anyway? In the throes of my self-absorbed sorrow, I didn’t notice that I had no ambition to begin with. Finding something to care about got me out of that horrible dark place, but every day, I come across more people my age – kids who haven’t even hit twenty yet, for fuck’s sake – diagnosed with depression, although nothing monumental has happened to them, to us. Why are you so unhappy? I don’t know.
Watching La Dolce Vita was like coming across yet another one of those…
Oh sure, but when I walk through the Trevi fountain I'm given a citation and have to pay a fine.
"Don't be like me. Salvation doesn't lie within four walls. I'm too serious to be a dilettante and too much a dabbler to be a professional. Even the most miserable life is better than a sheltered existence in an organized society where everything is calculated and perfected."
It's always intimidating to try and write about something considered to be one of the best films ever made. Regardless of how great it might be, it can be hard to have fun without a personal access point. It's like staring at the Mona Lisa: sure it's an amazing painting and it's easy to appreciate on that level, but what does it have to say about my own subjective reality?
So it was…
Truthful, audacious, bold, boring in stretches, and passionately sweeping: Federico Fellini's La Dolce Vita is a film that I admire greatly, but I never truly found a direct connection to it in relation to my own personal experiences. I was very indifferent to much of the film in the second half, only to have spurts of majestic beauty and honesty awake me from my slowly-fading attention. The ending is absolutely perfect however, and just like Don't Look Now, It's a conclusion that raised my thoughts of the film as a whole. I don't think it comes close to the masterful beauty of 8 1/2, but I can clearly understand why it is as revered as it is. Marcello Mastroianni stuns…
A film I never understood as a teen. A film I understand too well as an adult.
Denounced by the Vatican, prohibited in Spain and recipient of the Palme d'Or at the 13th Cannes Film Festival, La Dolce Vita managed to incense as well as delight. It concerns the episodic saga of Marcello Rubini (Marcello Mastroianni), a columnist in Rome who investigates society and entertainment gossip for a major tabloid newspaper. Federico Fellini commandeers the schizophrenic disposition of the journalist's existence and his futile quest for love and prosperity extraordinarily, boosted considerably by Mastroianni's inspirational performance.
The film is genuinely graceful and stylish in appearance, which commences with the terrific lighting; the cinematography of Otello Martelli, the costume design and Nino Rota’s enchanting musical score are all tremendous too. Played out in the surroundings of a changing post-war Rome, the film operates its substantial mysticism beyond the exterior elements and delivers awe-inspiring entertainment that investigates the endless divide between the sexes. La Dolce Vita is one of Fellini's masterpieces and is both symbolic and memorable.
After adoring Nights of Cabiria, and loving 8 ½ , it seemed like the appropriate time to take another dip into Fellini’s pool with a film that many consider their favourite.
I had no foreknowledge going in that this is what influenced The Great Beauty, a film I detested so much that I walked out after about 15 minutes ( actually walked out twice, first after 10 minutes, and then, after deciding to give it another try and continued, walked out again after another 5 ).
I was positively giddy watching the opening scene of ‘Flying Jesus’, there was a big smirk across my face. It wasn’t just the symbolic imagery, but also the wonderfully creative cinematography. Of course seeing…
Jesus flies above a Rome that is elegant but decadent. There is no strict character development in La Dolce Vita, just a slither of a story about a hedonistic reporter getting lost amidst an amoral landscape. The film embraces the shallowest of lifestyles to reveal the emptiness of it all. Fellini's Italy is an enchanting place where the nights are alive, but everything in La Dolce Vita is fake. News and reality is all constructed, as characters seek new adventures in a city deemed tranquil and bland. La Dolce Vita contains so many characters, essentially it is cavalcade of the people who wander through a certain social class. These people are disconnected from the world. Their lives are shallow and…
The opening sequence of La Dolce Vita is one of my favourites of any film. The image of the statue of Jesus Christ being transported by helicopter over the streets of Rome immediately sets up one of the key themes of the film - that of the relationship between traditional values and a modern society that has, for the most part, progressed past the need for them. The fact that the statue is also pursued by the paparazzi in a separate helicopter is telling of how celebrities and the affluent are treated in this society as it mirrors the way Sylvia Rank is pursued later on in the film.
Helicopters carry a giant jesus statue with his arms outstretched over the skies of rome, the children follow and scream and cry with glee at the mere spectacle of it all, much like the paps that ride along inside one of the copters. The beautiful girls sunbathing atop an apartment building wave their hats at them enthusiastically and they quickly swivel around for a chance at their phone numbers. Marcello oozes cool, a distinguished "naughty boy" whose duty is to inform the public, so he maintains. Seven days but mostly nights are presented tumultuously through the lens of Marcello, the lost and happy and damned and unhappy paparazzi constantly on the move towards something, in search of something. "Every night…
You know what, 3 watches and now I totally get the praise this film has earned over the decades. There really is nothing else like this, an experience as much as it is a film.
Reportedly, after being asked about the main inspiration of La Dolce Vita, Federico Fellini replied that "one year the fashions made the women in Rome look like big flowers". With this idea in mind, Fellini constructs one of his biggest and most celebrative and daring masterpieces of his entire filmography. Would it be enough to say that the film contributed the term "paparazzi" to the language? Such term was derived from the protagonist's photographer friend named Paparazzo. To what extent can a masterpiece that introduced a new era and represented the exact moment when Fellini suffered a filmmaking style transition influence the actuality culture? Condemned by the Italian Catholic party…
There has probably never been a more stylish film: the cars, the nightclubs, the tuxedos, the dress and body of Anita Ekberg, and, of course, Rome itself.
This gorgeous film stirs desire in much the same way sleek advertising does. But it's a desire that can never be fulfilled. A film that suggests an emptiness to a life of wine, women, and song? This I cannot abide.
An obvious masterpiece of cinema, I penalize it a half star just by way of showing my preference for the Neorealist Fellini of La Strada and Nights of Cabiria.
For whatever reason this famous movie is unwatchable on any streaming service, unavailable to rent, and impossible to even t*rr*nt in english. To save myself the near $20 it would cost to buy a Dvd, I eventually found an upload that would auto-translate the italian into english sentences that came out like “the night themselves I’m alive and there.”
Maybe someday I’ll get a chance to rewatch it with the correct subtitles, but I liked what I saw and improperly read
Damn homie the Catholics really fucked you up.
"Marcello, come here!"
La Dolce Vita is Federico Fellini's masterpiece. It redefined the world's perception of Rome in a period in which Rome was experiencing a post-war change in society and mores. It's the perfect setting for journalist Marcello Mastroianni, surrounded by celebrities, paparazzi, debauched nightlife and undergoing an identity crisis of his own. Ambitious and ambiguous, an episodic odyssey filled with contrasts, intellectuals, hedonists, night, day, aristocrats, streetwalkers and plenty of striking religious imagery. Everything about "La Dolce Vita" is iconic, the 1960s Italian fashion, Nino Rota's waltzy score and some of the most famous scenes in cinema. Overall, it's a remarkable artistic achievement.
Marcello (Marcello Mastroianni ) works for a scandal rag and his life is not much better than the stories he writes.
On other news, that's 3 hours of my life I'll never get back.
𝙇𝙖 𝘿𝙤𝙡𝙘𝙚 𝙑𝙞𝙩𝙖 (1960) - 𝘿𝙞𝙧𝙚𝙘𝙩𝙚𝙙 𝙗𝙮 𝙁𝙚𝙙𝙚𝙧𝙞𝙘𝙤 𝙁𝙚𝙡𝙡𝙞𝙣𝙞 - 1001 𝙈𝙤𝙫𝙞𝙚𝙨 𝙩𝙤 𝙒𝙖𝙩𝙘𝙝 𝙗𝙚𝙛𝙤𝙧𝙚 𝙮𝙤𝙪 𝘿𝙞𝙚 #364
After being slightly underwhelmed by 8 ½, I decided to watch one of Fellini's other celebrated films, La Dolce Vita, to try give him another chance and now I'm very curious to see his other films and to also give 8 ½ another chance. I wish this was longer. It's already nearly 3 hours long but I didn't want it to end. The world that Fellini creates in this is so captivating that it sucks you in for the entire duration and you can't look away from it. I can't wait to revisit this again. One of the greatest films I've ever seen.
There's a fantastic through-line of cameras surrounding first celebrities, then children claiming to witness a miracle, and towards the end a very different and much more tragic kind of celebrity, the victim.
Although its just loose episodes both in love with and heavily critical of Italian society at the time it has a style and panache that still resonates. The iconic opening shot of the statue of Jesus being flown over Rome is still awe inspiring and the swim in the Trevi Fountain is still magical. And unlike Roman Holiday, which presents a twee version of Rome, Fellini never skirts the uglier side of the city, making it all the more vibrant and relatable.
“It insists on looking.”
Nie porwał mnie ten brudnopis filmowy Felliniego. Ostatni akt zdecydowanie najlepszy, ciekawszy i niejednoznaczny. Analizy La Dolce Vita > La Dolce VIta.
Cool- the film
to anyone who asks if i've seen this after watching 8 1/2 countless times I can finally fucking say yes god damn
tag yourself im the boy's grandma who pretends to fall asleep during the party
juliodogpit 1,001 films
Hungkat 242 films
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