Giulietta Masina - News Poster


Federico Fellini’s Best Films: La Strada hits the home formats on Monday 19th June

Federico Fellini’s masterpiece, La Strada, returns in a beautifully restored 2k version out to own on Blu-ray, DVD and Digital Download June 19.

The film is just as mesmerising, emotionally wrenching and unique as when it was first released, so to celebrate this exciting newly restored version, we’ve collected together Fellini’s five greatest films.

La Strada (1954)

La Strada is loosely about a care-free girl (played y Giulietta Masina) who is sold to a traveling entertainer. However, it is far more interested in the historical backdrop of the story and building nuanced characters, and does so perfectly. The landscape is the blasted Italian environment just after WW2. This provides a realism and bleakness to the film, which in turns adds depth to an already tender and compassionate story, and launches it to the level of a masterpiece.

The Nights of Cabiria (1957)

The Nights of Cabiria follows a waifish prostitute
See full article at The Hollywood News »

Win La Strada on Blu-ray

Author: Competitions

Federico Fellini’s masterpiece, La Strada starring Giulietta Masina, Anthony Quinn and Richard Basehart, returns in a beautifully restored 2k version out to own on Blu-ray, DVD and Digital Download on June 19.

To celebrate this release, we have teamed up with StudioCanalUK to give three lucky winners the chance to win the film on Blu-ray.

In a story of true outsiders, Giulietta Masina plays Gelsomina, a naïve young woman sold by her desperate mother to boorish strongman Zampanò (an immensely charismatic Anthony Quinn) to be both his wife and performance assistant as he tours central Italy. Zampanò is a brute and Gelsomina struggles to learn the ropes until she finds a kindred spirit in his rival the Fool (Richard Basehart). Soon all three find themselves part of the same travelling circus, but with tragic consequences.

Please note: This competition is open to UK residents only

a Rafflecopter giveaway
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Movie Review – La Strada (1954)

La Strada, 1954.

Directed by Federico Fellini.

Starring Giulietta Masina, Anthony Quinn, and Richard Basehart.


A care-free girl is sold to a traveling entertainer, consequently enduring physical and emotional pain along the way.

Entire essays could be written on Giuletta Masina’s face alone. There’s a childlike quality to her puppy dog eyes, her ability to express such sadness with a simple tilt of the head, or exuberance with a blink. If there was ever a face for the big screen, it was hers, and with the re-release of Federico Fellini’s tragic masterpiece, La Strada, once again she can be celebrated.

Although married to Fellini, he never found a role more purely “Masina” than that of doleful reluctant clown Gelsomina. When news of the death of her sister reaches Gelsomina and her poverty stricken family, she is forcefully sold for 10,000 lire to manipulative, drunken strongman Zampano (an indelible Anthony Quinn). The two travel,
See full article at Flickeringmyth »

‘La Strada’ Restoration First Look: Federico Fellini’s Oscar-Winning Masterpiece Heads Back to Theaters — Watch

‘La Strada’ Restoration First Look: Federico Fellini’s Oscar-Winning Masterpiece Heads Back to Theaters — Watch
From “Donnie Darko” to “The Graduate,” “Mulholland Drive” and “Stalker,” film restorations are having a pretty incredible year so far, and it’s only going to get better with the return of a Federico Fellini masterpiece. Studiocanal is bringing a 2k digital restoration of “La Strada” to UK theaters on May 19, and it has released a wonderful first look courtesy of the trailer embedded below.

Read More: ‘The Graduate’ 4K Restoration Coming to Theaters for 50th Anniversary

La Strada” stars Giulietta Masina as young woman who becomes the wife and performance assistant to a strongman named Zampanò (Anthony Quinn). She befriends her husband’s rival (Richard Basehart) as their marriage becomes increasingly abusive. When the three are put in the same traveling circus, tragedy strikes.

The movie opened in 1954 and became the first title to ever receive the Oscar for Best Foreign Langue Film. “La Strada” also earned the Silver
See full article at Indiewire »

Federico Fellini’s ‘La Strada’ Returns with Trailer for Theatrical Restoration

One of Federico Fellini’s most acclaimed films has been given a new 2K digital restoration, and if you’re in the U.K., you are lucky enough to be able to see it on the big screen next month. This May, the winner of the the inaugural Academy Award for Best Foreign Language Film, La Strada, will return to theaters there, and they’ve released a new trailer.

Featuring a heartbreaking performance from Giulietta Masina, the film tells the story of her struggle under the brutish Zampanò (Anthony Quinn) as they tour Italy. While we’ll hopefully see the restoration come stateside eventually, check out the trailer below, along with synopsis and new poster.

In a story of true outsiders, Masina plays Gelsomina, a naïve young woman sold by her desperate mother to boorish strongman Zampanò (an immensely charismatic Anthony Quinn) to be both his wife and performance assistant as he tours central Italy.
See full article at The Film Stage »

James Gray on the Wistfulness of ‘The Lost City of Z,’ Twitter Mishaps, and Stealing from the Best

Read even just a couple of interviews with him and you’ll realize that James Gray — in his humor, candor, self-effacement, knowledge, and general kindness — is better at the process than almost anybody else. So I’d experienced twice over, and now a third time on the occasion of his latest picture, The Lost City of Z. Although I liked the film a whole lot upon seeing it at last year’s Nyff and found it a rich source of questions, our conversation proved too casual and genial to be intruded about with a query about sound mixing — which I, of course, just knew I’d ask before entering a hotel room and sitting at a tiny table, complementary chocolate cake between us, and realizing that my muse then and there was instead a question about Steven Soderbergh’s Twitter account.

It’s not every day you can bring it up,
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All of the Films Joining Filmstruck’s Criterion Channel This April

Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This April will feature an exciting assortment of films, as noted below.

To sign up for a free two-week trial here.

Monday, April 3 The Chaos of Cool: A Tribute to Seijun Suzuki

In February, cinema lost an icon of excess, Seijun Suzuki, the Japanese master who took the art of the B movie to sublime new heights with his deliriously inventive approach to narrative and visual style. This series showcases seven of the New Wave renegade’s works from his career breakthrough in the sixties: Take Aim at the Police Van (1960), an off-kilter whodunit; Youth of the Beast (1963), an explosive yakuza thriller; Gate of Flesh (1964), a pulpy social critique; Story of a Prostitute (1965), a tragic romance; Tokyo Drifter
See full article at CriterionCast »

Federico Fellini’s Roma

Federico Fellini’s best non-narrative feature is an intoxicating meta-travelogue, not just of the Eternal City but the director’s idea of Rome past and present. The masterful images alternate between nostalgic vulgarity and dreamy timelessness. Criterion’s disc is a new restoration.

Fellini’s Roma


The Criterion Collection 848

1972 / Color / 1:85 widescreen / 120 min. / available through The Criterion Collection / Street Date December 13, 2016 / 39.95

Starring Peter Gonzales, Fiona Florence, Pia De Doses, Renato Giovannoli, Dennis Christopher, Feodor Chaliapin Jr., Elliott Murphy, Anna Magnani, Gore Vidal, Federico Fellini.

Cinematography Giuseppe Rotunno

Film Editor Ruggero Mastroianni

Original Music Nino Rota

Written by Federico Fellini and Bernardino Zapponi

Produced by Turi Vasile

Directed by Federico Fellini

Reviewed by Glenn Erickson

Federico Fellini stopped making standard narrative pictures after 1960’s La dolce vita; from then on his films skewed toward various forms of experimentation and expressions of his own state of mind. Most did have a story to some degree,
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‘Blow Out’: Brian De Palma’s Thrillingly Bleak, Prescient View of America

In a career fixated on the machinations of filmmaking presented through both a carnal and political eye, Brian De Palma’s fascinations converged idyllically with Blow Out. In his ode to the conceit of Blow UpMichelangelo Antonioni’s deeply influential English-language debut, released 15 years prior — as well as the aural intrigue of Francis Ford Coppola’s The Conversation, De Palma constructs a conspiracy thriller as euphorically entertaining as it is devastatingly bleak.

In a fake-out opening — shot by Steadicam inventor Garrett Brown — that combines the voyeurism, nudity, and threat of murder that are De Palma’s calling cards, we see Coed Frenzy, the fifth movie in two years that sound technician Jack Terry (John Travolta) has done for the shlock director employing him. By showing the artifice of the B-movie, this film-in-a-film positions Blow Out as a more mature offering from the filmmaker, explicitly foreshadowed during the split-screen opening
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Dustin Hoffman Reflects on ‘The Graduate,’ ‘Amy’ Director Visits Criterion, James Gray’s New Ad, and More

Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

Jessica Chastain, Juliette Binoche, Freida Pinto, Catherine Hardwicke, Amma Asante, Marielle Heller, Ziyi Zhang, Haifaa Al Mansour, and more women have launched the company We Do It Together to produce films and TV that boost the empowerment of women, Variety reports.

Dustin Hoffman discusses his screen test for The Graduate, plus read Frank Rich‘s Criterion essay:

Though The Graduate upholds some of the classic tropes of Hollywood romantic comedy dating back to the 1930s—especially in its climactic deployment of a runaway bride—Benjamin’s paralyzing emotional disconnect from the world around him is what makes his story both fresh and particular to its own time.

See full article at The Film Stage »

Remembering Delorme Pt. II: Actress Starred in French Blockbuster Bigger Than 'Star Wars'

Danièle Delorme and Jean Gabin in 'Deadlier Than the Male.' Danièle Delorme movies (See previous post: “Danièle Delorme: 'Gigi' 1949 Actress Became Rare Woman Director's Muse.”) “Every actor would like to make a movie with Charles Chaplin or René Clair,” Danièle Delorme explains in the filmed interview (ca. 1960) embedded further below, adding that oftentimes it wasn't up to them to decide with whom they would get to work. Yet, although frequently beyond her control, Delorme managed to collaborate with a number of major (mostly French) filmmakers throughout her six-decade movie career. Aside from her Jacqueline Audry films discussed in the previous Danièle Delorme article, below are a few of her most notable efforts – usually playing naive-looking young women of modest means and deceptively inconspicuous sexuality, whose inner character may or may not match their external appearance. Ouvert pour cause d'inventaire (“Open for Inventory Causes,” 1946), an unreleased, no-budget comedy notable
See full article at Alt Film Guide »

Legendary Bergman on TCM: From Hollywood Career-Ruining Scandal to 3 Oscars and Another Bergman

Ingrid Bergman ca. early 1940s. Ingrid Bergman movies on TCM: From the artificial 'Gaslight' to the magisterial 'Autumn Sonata' Two days ago, Turner Classic Movies' “Summer Under the Stars” series highlighted the film career of Greta Garbo. Today, Aug. 28, '15, TCM is focusing on another Swedish actress, three-time Academy Award winner Ingrid Bergman, who would have turned 100 years old tomorrow. TCM has likely aired most of Bergman's Hollywood films, and at least some of her early Swedish work. As a result, today's only premiere is Fielder Cook's little-seen and little-remembered From the Mixed-Up Files of Mrs. Basil E. Frankweiler (1973), about two bored kids (Sally Prager, Johnny Doran) who run away from home and end up at New York City's Metropolitan Museum. Obviously, this is no A Night at the Museum – and that's a major plus. Bergman plays an elderly art lover who takes an interest in them; her
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Scott Reviews Federico Fellini’s Fellini-Satyricon [Masters of Cinema Blu-ray Review]

By the late 1960s, Federico Fellini had more or less permanently transitioned from filmmaker to icon. The autobiographical 8½ basically ensured his films would be permanently inseparable from himself, the sort of commercial accomplishment of which most film directors can only dream. Most directors are fortunate to be recognized for putting their “touch” into an accepted format. Fellini was the format. His follow-up, Juliet of the Spirits, is an equally indulgent affair that serves loosely as an apology to his wife (Giulietta Masina, who also stars in the film), on whom he cheated for more or less the entirety of their marriage; the resulting film is as much his fantasy (sexual extravagance) as hers (Masina had a keen interest in the psychic realm). And so the template is set – Fellini would continue to make films about himself, but largely under the guise of someone else’s perspective.

He wasn’t shy
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Listen to James Gray Talk Fellini, 'The Immigrant' and His Favorite Movies

Listen to James Gray Talk Fellini, 'The Immigrant' and His Favorite Movies
James Gray has, since 1994 debut "Little Odessa," enjoyed a fruitful American indie film career despite studio pressures and tussles, including TWC's infamous dumping of "The Immigrant," his 2013 Cannes premiere that became a critics' cause celebre.  Gray, now foraying into television with a hardboiled animated series for adults, joins host Peter Labuza on the latest episode of The Cinephiliacs podcast to unpack his work, thoughts on indie filmmaking and Federico Fellini's "Nights of Cabiria" whose streetwalker with a heart of gold played by Giulietta Masina influenced Marion Cotillard's tragic heroine of "The Immigrant." Listen to the podcast here. Read More: From 'The Immigrant' to 'Two Days, One Night': Oscar Nominee Marion Cotillard's Amazing Year
See full article at Thompson on Hollywood »

The film that makes me cry: La Strada

Fellini’s Oscar-winning weepie is moving not only for the cruel fate of its lead characters at the hand of a brutish man, but for how we can see ourselves in them

A bleak and windswept beach somewhere at the edges of postwar rural Italy. A family in abject poverty scratches out a living at the margins. Sweet and naive Gelsomina is sold by her mother into indentured servitude to the brutal travelling sideshow strongman Zampano, whose sole act is to break a chain he wraps around his chest. Using a whip, as if with a circus animal, he teaches her to play a snare drum and a battered trumpet. They embark on a folktale-like odyssey through a blasted landscape of freighted characters and abstract encounters and symbols.

Federico Fellini cast an immensely charismatic Anthony Quinn as the belligerent Zampano and his wife, the delicately clowning Giulietta Masina, as the saintly Gelsomina.
See full article at The Guardian - Film News »

Watch: Break The Cinematic Fourth Wall With This 5-Minute Supercut

For filmmakers, allowing characters break the fourth wall and directly communicate with the audience can be a powerful tool to solidify the story’s themes while letting the viewer further empathize with the characters, whether they’d like to (“Ferris Bueller’s Day Off”) or not (“Funny Games”). It can also be a dangerous choice, and perhaps should only be used by seasoned professionals, since in the wrong hands it can snap you out of the flow of the piece by reminding them that they are indeed participating in fiction. Vimeo user Jacob T. Swinney put together a tribute to characters across the history of film breaking the fourth wall in order to bridge the cognitive gap between them and the audience. Even though Swinney doesn’t use this writer’s favorite fourth wall break—Giulietta Masina humbly smiling and nodding at the audience, as if thanking them for witnessing her meager story,
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A Year with Kate: The Madwoman of Chaillot (1969)

Episode 37 of 52: In which Katharine Hepburn plays another aristocrat in an odd little movie that makes no sense.

1969 was a really weird year for Kate. At age 62, she’d achieved commercial and critical success unlike any she’d experienced before. The Lion in Winter and Guess Who’s Coming To Dinner had not only earned Katharine Hepburn back-to-back Oscars, but also made her one of the top grossing stars of 1968. But as the 60s blossomed into the 70s, Kate took two very strange steps: an allegory, and a musical. Limitations be damned, she was Kate the Great, and she hadn’t had a flop in 15 years. That was about to change.

The Madwoman of Chaillot works as a curio, but not as a film. Based on a postwar French allegory, “updated” to include topical issues such as student riots and atomic power, the resulting movie is one Be In
See full article at FilmExperience »

Gardner, Crawford Among Academy's Career Achievement Award Non-Winners

Honorary Award: Gloria Swanson, Rita Hayworth among dozens of women bypassed by the Academy (photo: Honorary Award non-winner Gloria Swanson in 'Sunset Blvd.') (See previous post: "Honorary Oscars: Doris Day, Danielle Darrieux Snubbed.") Part three of this four-part article about the Academy of Motion Picture Arts and Sciences' Honorary Award bypassing women basically consists of a long, long — and for the most part quite prestigious — list of deceased women who, some way or other, left their mark on the film world. Some of the names found below are still well known; others were huge in their day, but are now all but forgotten. Yet, just because most people (and the media) suffer from long-term — and even medium-term — memory loss, that doesn't mean these women were any less deserving of an Honorary Oscar. So, among the distinguished female film professionals in Hollywood and elsewhere who have passed away without
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Learning From The Masters Of Cinema: Federico Fellini's Il Bidone

After the breakout success of his third feature, La Strada, many people hoped and expected Federico Fellini would deliver a sequel, continuing the onscreen adventures of Giulietta Masina's heroine Gelsomina (apparently even Walt Disney was a fan). However, despite the film winning a raft of awards around the world, including the Academy Award for Best Foreign Language Film, Fellini had eyes on revisiting another of his earlier creations, his autobiographical protagonist from I, Vitelloni, Moraldo. But when those plans were scuppered, the Italian instead decided to develop a new idea, focusing on the lives of petty criminals and con artists, the likes of which he had encountered during the filming of La StradaIl Bidone (or The Swindle) is less a strict narrative, but rather a...

[Read the whole post on]
See full article at Screen Anarchy »

Interview with Ralph Fiennes, Felicity Jones and Joanna Scanlan about The Invisible Woman

Tom Bernard, Carolyn Marks Blackwood, Felicity Jones, Ralph Fiennes, Gabrielle Tana, Michael Barker Photo: Anne-Katrin Titze

The Invisible Woman appeared last night at the Museum of Modern Art's Celeste Bartos Theater in New York City. Ralph Fiennes, director and star (as Charles Dickens) introduced the Sony Pictures Classics film and his co-star Felicity Jones who portrays Dickens' mistress Nelly Terman. Kristin Scott Thomas plays Frances Ternan, Nelly's mother, Joanna Scanlan is Dickens' wife. Tom Hollander, Perdita Weeks, Amanda Hale, Tom Burke, John Kavanagh and Michael Marcus round out the cast. Also on hand were The Invisible Woman's producers Carolyn Marks Blackwood and Gabrielle Tana, as well as Sony Pictures Classics co-founders Michael Barker and Tom Bernard. During the after party at Le Cirque presented by Carlo Pazolini, Julie Taymor gave me her take on another invisible woman, Giulietta Masina, in Feliini's Nights Of Cabiria.

Prior to the screening, I
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