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…
This review may contain spoilers. I can handle the truth.
The 100 Reviews: #40 – La Dolce Vita
La Dolce Vita is postmodernist and I’m not keen on that. Postmodernism, to my understanding, is a rejection of rationality. If that’s all it was, I could respect it, but it takes its perspective to the extreme and too seriously. A favorable alternative is absurdism, which abandons reason and hope and replaces them with senseless, unjustifiable happiness and appreciation for things. Most of the best comedies are exemplars of absurdism. This is why I think La Dolce Vita should have been a comedy. I understand that to many it was a comedy, but I didn’t see it that way. As a matter of fact, it appears that I was blind to most…
Top 10 Movie Endings
The importance of this film is undeniable. It stands as a transitional point from neorealism, which catalogued the poverty of postwar Italy, to a glitzy carnival of avarice and affluence, which Fellini set as the new standard of Italian cinema for moving beyond the country's fascist past. Neorealist films were shot in the streets; LA DOLCE VITA turned to florid imagery and expensive sets to mirror the shallow materialistic lifestyle of the times. Fellini is doing for Italy what Fassbinder did for Germany. They're both targeting the failure and moral decay of postwar reconstruction, and documenting the spiritual drift that led many people to live empty, insulated, decadent lives.
Unlike Fassbinder, Fellini uses a surrealistic (not humanistic) narrative structure to…
This is my second time watching this film, the first time being earlier this year. I loved it the first time around but I really didn't give it the best viewing. I was half tired and sick the first time around, this time I get to see it on the big screen. It is a much better viewing and I enjoyed it so much more. I was so busy analyzing it the first time around that I missed an also VERY entertaining film by Fellini. It's so god damn funny, despite some of the subject matter and how it gets darker towards the end.
Marcello's(the actor) face belongs up there with the likes of De Niro, Buster Keaton etc. in…
Poetic, humane, hilarious, deep, sad, gorgeous, profane.
Over the years, La Dolce Vita has become a sacred cow. This status as a masterpiece of the canon forgives two major problems in viewing: it’s really long and nothing happens. Consequently it is a film that raises an old problem: whether one is automatically a cultural philistine for also wanting a few drops of entertainment in their art.
The sense of ordeal is not aided by many of the characters being vacuous asses. This is deliberate - existential frivolity is basically the moral of the story - but also a tad sadistic, as La Dolce Vita spends much of its 3 hours attending crap parties. Whether a quiet soirée or drunken house do, these people are the worst, and…
So THIS is how Fellini kicked off the 60's. It's a long movie no matter who you ask, but surprisingly enough, I don't think the three hour La Dolce Vita could've been much shorter considering what it's about. The previous films have contained somewhat singular stories, centering around only a select few characters and detailing the crucial parts of their life trajectories as well as giving the audience a little view into 50's Italy, what with all the established neorealism and such. La Dolce Vita touches on many themes, all through the lens of one guy, Marcello (Marcello Mastroianni, who absolutely nails this role), as he traverses through a reflective time in his life that begs the question of what…
had a rough day so watching this was kind of relaxing, almost therapeutic. a highly rewarding way to spend three hours, i’m eager to watch la strada next.
(not enough anita ekberg tho)
great film. Had me quite melancholic by that ending, but I can't put my finger on why
MomSaysItsOK 100 films
Resuts based on BBC poll of 209 critics (Oct 2018)
Hungkat 187 films
Yea, reeling stuff. This is not necessarily about movies having the best endings but these are the ones that leave…