Le notti di Cabiria (1957)

Director:

Federico Fellini

Writers:

Federico Fellini (story) &
Ennio Flaiano (story) ...

Release Date:

26 May 1957 (Italy)

Genre:

Drama

Plot:

A waifish prostitute wanders the streets of Rome looking for true love but finding only heartbreak.

Plot Keywords:

House | Shrine | Accountant | Movie Star | Prostitute

Awards:

Won Oscar. Another 14 wins & 3 nominations

Cast

Giulietta Masina	...	Maria 'Cabiria' Ceccarelli
François Périer	...	Oscar D'Onofrio (as François Perier)
Franca Marzi	...	Wanda
Dorian Gray	...	Jessy
Aldo Silvani	...	Il mago
Ennio Girolami	...	Amleto, 'il magnaccia'
Mario Passante	...	Lo storpio alla processione
Christian Tassou
Amedeo Nazzari	...	Alberto Lazzari

Also Known As:

Nights of Cabiria (UK) (USA)
Les nuits de Cabiria (France)

Runtime:

110 min | USA:117 min (restored version)

Country:

Italy | France

Language:

Italian

Color:

Black and White

Aspect Ratio:

1.33 : 1

Sound Mix:

Mono (Western Electric Sound System)

Certification:

South Korea:15 (2003) | Australia:M | Finland:K-16 | Sweden:15 | Switzerland:16 (canton of the Grisons) | UK:PG

Filming Locations:

Acilia, Rome, Lazio, Italy

Company:

Dino de Laurentiis Cinematografica

Trivia:

Italian censorship visa #23742 delivered on 13 March 1957.

Movie Connections:

Referenced in Familiar Spirits (1966) (TV)

on the timelessness of Fellini's overlooked masterpiece

As a film-lover, there are movies that I've outgrown, movies that disappointingly lose their connection to me as I age and mature. Fellini's "Le Notti di Cabiria" is one of those movies that seems to grow with me. It grows richer with each yearly viewing. I never tire of it; I am moved in different ways each time I see it. Fellini and his amazing muse, Giulietta Masina, created one of those rare movie masterpieces in 1957 that comments on its time, yet remains fresh and contemporary as well. But I lament that this gem is so little known today. I trust its recent restoration will help remedy the movie-going public's oversight. The film's rich concluding scene alone (and Masina's glance into our eyes) remains one of the most magical moments ever projected on a screen.