Cabiria is a wide-eyed waif, a streetwalker living in a poor section of Rome where she owns her little house, has a bank account, and dreams of a miracle. We follow her nights (and days): a boyfriend steals 40,000 lire from her and nearly drowns her, a movie star on the Via Veneto takes her home with him, at a local shrine she seeks the Madonna's intercession, then she meets an accountant who's seen her, hypnotized on a vaudeville stage, acting out her heart's longings. He courts her. Is it fate that led to their meeting? Is this finally a man who appreciates her for who she is? Written by
Federico Fellini cast film editor Leo Cattozzo as "The Man with the Sack" and wanted to keep that sequence in the release print over the objections of producer Dino De Laurentiis. De Laurentiis, who thought the scene slowed the film down, finally had to resort to stealing the scene from the editing room. According to DeLaurentiis about five to seven years after its original release, Fellini called him up and begged him to give him back the sequence so he could restore it. As "Cabiria" had now achieved a classic status, the producer agreed. See more »
The position of the family outside the house changes between when Cabiria first opens the door and when she leaves the house. See more »
This is one of the most perfect films ever committed to celluloid. It involved me more than at least 99% of other films I've seen, and the main character, Cabiria, is a character to cherish and love forever (of course, we who have seen La Strada are already partly familiar with the character). I've hardly ever cared more about a character, and even after only five minutes into the film, I wanted so desperately to protect her. Giulietta Masina is so masterful in her performance, and Federico Fellini, her husband, is as masterful in his direction. I did not believe that they could match their success with La Strada, but, in fact, they succeeded in surpassing it. Bravo. 10/10. One of the best films ever made, plain and simple.
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