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La Dolce Vita (1960)

La dolce vita (original title)
Not Rated | | Comedy, Drama | 19 April 1961 (USA)
A series of stories following a week in the life of a philandering paparazzo journalist living in Rome.

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Writers:

(story), (story) | 5 more credits »
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Won 1 Oscar. Another 10 wins & 12 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
Maddalena (as Anouk Aimee)
...
Emma
...
Fanny (as Magali Noel)
Alain Cuny ...
...
Il padre di Marcello
Walter Santesso ...
Valeria Ciangottini ...
Paola
Riccardo Garrone ...
Riccardo
...
Debuttante dell'anno
Audrey McDonald ...
Jane
...
Pagliaccio
Alain Dijon ...
Frankie Stout
Mino Doro ...
Amante di Nadia
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Storyline

Journalist and man-about-town Marcello struggles to find his place in the world, torn between the allure of Rome's elite social scene and the stifling domesticity offered by his girlfriend, all the while searching for a way to become a serious writer. Written by Jeff Lewis

Plot Summary | Plot Synopsis

Taglines:

The Sweet Life See more »

Genres:

Comedy | Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

|

Language:

| | |

Release Date:

19 April 1961 (USA)  »

Also Known As:

La Dolce Vita  »

Box Office

Gross:

$19,516,000 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (premiere) | (re-release) | (premiere)

Sound Mix:

(Western Electric)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

The film and especially the final beach scene were inspired by the infamous 1953 Wilma Montesi murder case. Montesi was a normal Italian woman from a proper family. Her dead body was found on a beach near Rome. The investigation exposed the drugs and sex orgies of Roman high society at the time. The murder remains unsolved as of today. See more »

Goofs

When the two children see the Madonna, the time of day is stated as 7:00. However, the very short shadows of the characters reveal that it is midday. See more »

Quotes

Marcello Rubini: You are the first woman on the first day of creation. You are mother, sister, lover, friend, angel, devil, earth, home.
See more »

Connections

Referenced in One Hundred and One Nights (1995) See more »

Soundtracks

Toccata and Fugue in D Minor: Toccata and Fugue in D Minor, BWV 565
(uncredited)
Written by Johann Sebastian Bach (as J.S. Bach)
Performed by Alain Cuny
See more »

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User Reviews

life imitates art? art imitates life? a bit of both?
30 November 2004 | by (Dobbs Ferry, NY) – See all my reviews

I just saw a new print of this wonderful film after not having seen it for maybe 20 years and it is still spellbinding. Fellini sums up an era and an attitude here, and succeeds in doing something that ought to be impossible: he makes a full and meaningful film about empty and meaningless lives. Mastroianni seems to have been to Fellini what DeNiro has been to Scorsese--a perfect embodiment of a personal vision. What a wonderful actor he was--brilliant in his youth and in his age. Many other performers are hardly less fine here, and the cinematography and composition are stunning throughout. There are so many indelible images from this film, images that have become iconic over the decades: Ekberg in the Fontana di Trevi, the statue of Christ flying over Rome, the astonishing, candlelit procession at the castle, to name a few. It seems plot less and yet it isn't plot less at all; Marcello's ultimately fruitless search for meaning, a search that he abandons in the end, as he stares across a slight and yet unbridgable abyss on the beach at a lovely young girl who seems to possess the knowledge and understanding that is denied to him. I'm astonished at the number of people who don't get this movie, who seem to think that Fellini expects us to admire the bizarre characters who people the film, or who think that a movie about worthless individuals must be a worthless movie, or who don't seem to understand that movies that are full of what become clichés usually do so because they capture an important vision. Fellini made several exceptional films: 81/2, La Strada, Amarcord, and The Nights of Cabiria come to mind, but La Dolce Vita may be, when all is said and done, his masterwork.


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