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.
Fausto Moretti, having seduced Sandra Rubini, the sister of his friend and companion Moraldo Rubini, is forced to marry her. After their honeymoon, he takes a job as a salesman of religious objects in a small shop. He isn't changed by his marriage and still looks for women, with his friends, when and where they can find them. He even tries to seduce the wife of his boss and is fired. After each episode, Sandra forgives him. He and his friends of similar temperament are content to be idle, chase girls and leave the work and job-hunting to others. After spending the night away from home with a girl, Sandra cannot forgive anymore and runs off with their child. Fausto and his friends search all over for them, fearing the worst. Written by
Les Adams <email@example.com>
The part for 'Sergio Natali' was originally offered to the great Italian director, 'Vittorio de Sica'. He politely declined as he was concerned that the character's homosexuality might mark the director himself as a homosexual. See more »
When Sandra receives the 'Miss Mermaid' sash, it is placed over her left shoulder. Later inside during the storm it is seen to be over her right shoulder. See more »
This is a wonderful film. The BFI have got their act together and made a new print, so finally I get to se this - and to be honest I preferred it to La Dolce Vita (despite absence of Mastrionni - sexiest man in history of cinema). Anyway, some of these scenes were just breath-takingly beautiful, especially the aftermath of the carnival, where Angelo looks drunkenly at the clowns (about to become a key Fellini motif). What especially impressed was the soundtrack, which lurched from a fairly typical 'melodrama' score to brilliant use of natural sound, especially the cold wind whipping around the streets off the sea. This sound adds pathos, and helps you understand that sandra and Faustos' 'happy end' is merely temporary: this is a desolate place which makes for desolate lives. It differs from neo-realist classics such as Bicycle Thieves in that it places malaise into the spiritual and emotional realm rather than the financial, although you still get some sense that the boys' economic hardship is maybe not entirely voluntary. Really genuienely enjoyable on your first watch, something I don't think you can say about all Fellini's films, beautifully shot and wonderfully paced, you feel as if you have witnessed a little miracle watching this film.
19 of 27 people found this review helpful.
Was this review helpful to you?
| Report this