Six separate episodes: would-be suicides discuss their despair. A provincial dance hall. An investigative reporter posing as a husband-to-be. A young unwed mother. Girl-watching techniques of Italian men. A glimpse into prostitution.
In 1914, a luxury ship leaves Italy in order to scatter the ashes of a famous opera singer. A lovable bumbling journalist chronicles the voyage and meets the singer's many eccentric friends and admirers.
Amelia and Pippo are reunited after several decades to perform their old music-hall act (imitating Fred Astaire and Ginger Rogers) on a TV variety show. It's both a touchingly nostalgic ... See full summary »
Cinecitta, the huge movie studio outside Rome, is 50 years old and Fellini is interviewed by a Japanese TV crew about the films he has made there over the years as he begins production on ... See full summary »
Moments after the newlywed couple of the fastidious office employee Ivan and his young and pure wife Wanda arrive at a hotel in Rome for their honeymoon and a formal meeting with Ivan's uncle, the bride decides to sneak out of the room and leave unnoticed. Wanda, obsessed with the masculine "White Sheik", her idol and hero of her favourite romantic photonovel, and tempted by his fiery invitation, she decides to actually meet him in person just to show him a painting she made. Without a doubt, 20-year-old Wanda risks a lot, however, she needs to see him in all of his glory. Instead, she will reluctantly join the cast of the photonovel, she will even get a small part too, she will be seduced by the arrogant protagonist and ultimately, confused and disappointed, she will inevitably realise that she is all alone and so far away from Rome and her husband. Perplexed by Wanda's strange disappearance and unable to disclose the news to his family, Ivan will seek her in the streets of Rome ...Written by
"Our real lives are in our dreams, but sometimes dreams are a fatal abyss."
That line above is one of the most beautiful lines I've ever heard in any film. This 1951 comedy feature is free of Fellini's quintessential surrealist vision but filled with the delights of idiosyncratic imagery, genius comical precision, and indisputable humanity.
The film opens in Rome, where a newlywed small-town couple is vacationing on their honeymoon. While in Rome, the (very) young bride takes advantage of being near the location where a new film is being shot that stars The White Sheik, a popular film/serial/newspaper icon whom she is secretly infatuated with. While her husband is sleeping, she sneaks off to find the Sheik and give him a drawing she has made of him. Brunella Bovo, who plays the bride, is new to me, but she was absolutely entrancing in her innocence. Trieste's comic expressions are absolutely arresting. Sordi is hilarious as the Sheik, who is about as unromantic a romantic figure as you can imagine.
Nino Rota's first score for Fellini is a lot of fun and exceptionally carnivalesque. You can tell by the marriage of music and image that Fellini and Rota had a real treasured creative hit-off with this film, and as most know, Rota scored every Fellini film after "White Sheik" until his death in 1979. This great score has never been released in it's entirety, but the main title theme has appeared on many Rota compilations.
An absolutely adorable little film, which seems to have been regrettably ignored by the majority. It's one I will watch many times.
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