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.
Rome, 1957. A woman, Cabiria, is robbed and left to drown by her boyfriend, Giorgio. Rescued, she resumes her life and tries her best to find happiness in a cynical world. Even when she thinks her struggles are over and she has found happiness and contentment, things may not be what they seem.Written by
During the editing of this film, editor Leo Catozzo developed the CIR self-perforating adhesive tape splicer (also known as "Costruzione Incollatrici Rapide", "the Cattozzo", Guillotine-, CIRO- or ARRI Splicer) which made him rich in the 1960s and for which he won an Academy Award in 1990. See more »
The position of the family outside the house changes between when Cabiria first opens the door and when she leaves the house. See more »
Nights of Cabiria has been available in videos in the original version. The Rialto Pictures 1998 version, released in theaters in 1998, restores a scene showing a mystery man with a sack delivering food and blankets to people sheltered in holes. The 1998 version restored picture and sound, has a new translation, and is available from The Criterion Collection (DVD) and Homevision Cinema (DVD). See more »
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.
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