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 Lex Barker Nadia Gray Adriano Celentano Jacques Sernas Polidor Enrico Glori Laura Betti Nico Enzo Cerusico Alain Dijon Oretta Fiume Harriet Medin Liana Orfei Giò Stajano
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.
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…
Fellini lived in a completely different world than I do -- I will never have gorgeous women draped on each arm, and a life spent carousing at night while barely working. So I find it challenging to connect with his decadent characters, all of whom seemed bored or depressed with their empty lives. While Fellini brings up interesting ideas (and some beautiful cinematography), at three hours, I'd rather find something else to do.
The first time I saw this, I watched it on my tiny computer screen at home, and already then it felt like magic. As you can imagine, it's therefore hard for me to explain the exact feeling I had when I, all alone, watched this at the theater earlier tonight. I know it sounds like a fucking cliché, but this truly feels like the reason films are made. It really lives up to all its hype, and even after fifty-eight years, it feels fresh and modern.
Sure, it probably wouldn't have been as easy watching this for three hours straight if it weren't for Marcello Mastroianni and his fine face, but I think it's fair to call this a masterpiece.
iconic, truly cinematic scenes spaced out among overly indulgent and meandering moments. the word 'pretentious' comes to mind. still, fellini's intention is clear: we glimpse the incongruous sense of spectacle and religion that a materialistic and excessive (yet utterly meaningless) lifestyle can be prone to. but did it really have to take almost 3 hours long to convey this?
Watching "La Dolce Vita" was a truly underwhelming experience. Based on the number of reviewers calling this film a masterpiece I had expected more than it eventually provided me, which was a shallow story so difficult to stay invested in that it took me more than three attempts to finish watching. I understand that it was likely the creators' decision for the narrative to reflect the emptiness Marcello was experiencing, so I blame my sensitivity for the fact that this film had no emotional impact on me and not the artistic choices made. Also, I appreciate Fellini's directing, the cinematography as well as Mastroianni's performance.
All in all, "La Dolce Vita" seems to be one of those films I don't regret watching but wouldn't like to watch again.
Ekberg and her gravity defying dress (aka boobs) and the Trevi Fountain get all the press (and the poster), but that’s just the cherry on top of this film. This film about hedonistic, narcissistic, shallow pleasure-seeking. I guess it’s an artistic triumph. I guess it’s a classic film. But it left me feeling hollow and empty (kinda the point, probably) and bored too (probably not the point) but the film is really long and indulgent.
Classic entry in the “watch it once and be glad you did, but then never watch it again” category. It’s always tough for me to hang my hat on a lead who’s neither a hero nor an antihero, and the lead here is a particularly trashy brand of neither, but at least he’s played very well. My main issue is length - it’s a slog at three hours (with no need for, at the very least, the Madonna sequence), but that’s kind of the point I guess.
One area where I’ll give the movie lots of credit - speaking from limited but informative experience with hedonistic, artsy, starfucking crowds, the particular sequencing of scenes and characters introduced here is perfect.…
This review may contain spoilers. I can handle the truth.
Boy oh boy. A character study and the great adventures of journalist Marcello through the nightlife of Italy and how it may be changing for the worse. Constantly being followed by paparazzi, endless phone calls with his fiancée, taking care of people, never does he have a peaceful moment. To add some complexity (eg the Anita scene), while she’s having the transformative experience of soaking up Rome, he’s constantly and selfishly trying to kiss her.
And then there’s the last scene, where Marcello has given up. If he couldn’t beat them, he joined them. And he’s not even having fun doing it. He hides his face with a shrug, the monster is in Italy now.
Fellini é misógino
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