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La Strada (1954)

La strada (original title)
Not Rated | | Drama | 16 July 1956 (USA)
A care-free girl is sold to a traveling entertainer, consequently enduring physical and emotional pain along the way.

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(story and screenplay), (story and screenplay) | 2 more credits »
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Won 1 Oscar. Another 11 wins & 4 nominations. See more awards »
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Cast

Complete credited cast:
...
...
...
Aldo Silvani ...
Giraffa
Marcella Rovere ...
Widow
Livia Venturini ...
Nun
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Storyline

Sad story of a waif, Gelsomina, who is sold by her mother to Zampano for 10,000 lire and a few kilos of food. Zampano is a traveling showman who exhibits feats of strength by breaking a chain wrapped around his chest. He performs in village squares and then passes the hat for whatever the normally small crowd is prepared to give. He teaches Gelsomina a drum roll as part of his introduction. He doesn't treat her well and when she tries to run away, he beats her. They eventually join a small traveling circus where they meet a tight-rope walker who convinces Gelsomina to question her choices. Written by garykmcd

Plot Summary | Plot Synopsis

Taglines:

This is the picture YOU'VE HEARD about! See more »

Genres:

Drama

Certificate:

Not Rated | See all certifications »

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Details

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Release Date:

16 July 1956 (USA)  »

Also Known As:

La Strada  »

Filming Locations:

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Anthony Quinn was working on a film with Giulietta Masina when she introduced him to her husband, Federico Fellini. Fellini was immediately convinced that the Mexican actor would make the perfect Zampano the strongman in his new film, which was to become (La Strada (1954), and implored him to accept the role. The nonplussed actor, who had no idea who Fellini was, initially turned him down, but Fellini was persistent, pestering him for days about the project. Shortly thereafter, Quinn spent the evening with Ingrid Bergman and her husband, director Roberto Rossellini. After dinner, the three watched Fellini's most recent film, the comedy-drama (I Vitelloni (1953), and Quinn realized with astonishment that the crazy Italian filmmaker who had been hounding him for days was a genius. See more »

Goofs

At the wedding, the size and color of the dot on Gelsomina's nose appears to change between the times when she is taken to Oswaldo and when she is fed. See more »

Quotes

The Fool: What a funny face! Are you a woman, really? Or an artichoke?
See more »

Connections

Referenced in Noé bárkája (2007) See more »

Soundtracks

Zampano
(1954) (uncredited)
Music by Nino Rota and Michele Galdieri
Published by Leeds
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User Reviews

 
Classic example where "less is always more".
12 May 2000 | by See all my reviews

This is one of the most influential films of all time, it is the classical example, where "less" is always "more". The story is deceivingly simple and it feels at the beginning almost like a piece from "commedia del arte", however the master touch of Fellini's heart and vision talk to us directly through the canvas of Gesolmina's face (Giulietta Massina was his wife in real life). You don't need big words or a crafty developed script. This is like music, speaks directly it does not need translation even most non-Italian speakers find themselves more and more immersed in the visual aspects of this drama, it seems in many aspects surreal (I'll develop this point later) and distant but at the same time there is an underlying tension brought up by the close ups and the music revealing all those emotions much more close to our hearts than we are at first openly willing to admit. This is cinema at its best ladies and gentlemen. No special effects, no grandiose vistas, no colors, no extra help. The intimate nature of these characters feelings talk and paint more pictures than anything else can convey. Regarding the intimate relationship of Fellini and his movies there are already many of his little "secrets or eccentricities" that he imposes in all his films, they all have relevant hidden messages, such as the "white mysterious horse" and the haunting "trumpet melody" are just some of them. Those interested in Fellini's oeuvre should have the pleasure to uncover them with more of his viewing of what this all means, in same cases there is a definite reason in others he leaves it to your own devices and interpretation. He constantly teases us with contradictory emotions, sadness and laughter, complicated and simple, logical and absurd, brutish and angelical. Finally this film is like a great banquet, it seems to drag at he beginning and makes you think that is going to be too long and then at the end it seems too abrupt and you want it to continue, but most importantly leaves with us a savor that will linger in our minds for a long time, those who are sensitive to Fellini's vision will carry this for ever and hunger for more, those indifferent will dismiss it as an extravagant little piece and may be curios for another one. Once thing is for certain, nobody will ever forget Gesolmina's face.


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