Rome, 1959/60. Marcello Rubini (played by Marcello Mastroianni) is a writer and journalist, the worst kind of journalist - a tabloid journalist, or paparazzo. His job involves him trying to catch celebrities in compromising or embarrassing situations. He tends to get quite close to his subject, especially when they're beautiful women. Two such subjects are a local heiress, Maddalena (Anouk Aimee), and a Swedish superstar-actress, Sylvia (Anita Ekberg), both of whom he has affairs with. This is despite being engaged to Emma (Yvonne Furneaux), a rather clingy, insecure, nagging, melodramatic woman. Despite his extravagant, pleasure-filled lifestyle, he is wondering if maybe a simpler life wouldn't be better.Written by
In the Via Veneto scene when Marcello meets his father, the windshield of Marcello's car is missing. You can see his hand holding on to the windshield frame as he exits his car. See more »
What do you think you like most in life?
I like lots of things. But there are three things I like most. Love, love and love.
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In the original American release, distributed by American International Pictures, the titles open with the AIP logo and appear over a shot of the sky with clouds. In the current release on DVD - and as shown on TCM - the title sequence is over a black background. When originally released, censors in several countries trimmed certain scenes, including the orgy near the end of the film. See more »
I'm Goin' Away
Written by Alan Greene See more »
Complex And Rambling
Mostly because of the terrific high contrast, B&W visuals, and the evocative music, this is the only Fellini film I have seen that I have somewhat enjoyed. I recommend it, but not without reservations. It's a complex film with many textured layers of meaning. And, in typical Fellini fashion, it rambles and it meanders.
Deviating from standard three-Act structure, Fellini's story consists of roughly eight episodes, all starting at night and ending at dawn, more or less. Each has its own crisis. And the only thing that unites these episodes into a coherent whole is the story's protagonist, Marcello (Marcello Mastroianni). In his job as a journalist and overall observer of human nature, Marcello encounters people in high society who seem outwardly happy and self-fulfilled. On closer examination, however, these people are empty, hollow, alienated, emotionally adrift and vacant.
A good example is the starlet Sylvia (Anita Ekberg), a glamorous figure, but she's all image and no substance. "La dolce vita" is the first film that uses the concept of "paparazzi", which implies the importance of "image", separate from substance.
Throughout the various episodes Marcello sees these "images" of happiness, of contentment, but the images are deceptive, elusive, unreliable. In one episode, two "miracle" children "see" the Madonna. "The Madonna is over there", shouts one child. The crowd chases after her. But the other child who "sees" the Madonna runs in the opposite direction. Happiness, self-fulfillment, religious visions ... they're all a will-o'-the-wisp. And so, the film conveys a sense of pessimism and cynicism.
The film thus has deep thematic value. It caused a scandal when it was released, and was banned by the Catholic Church, apparently for appearing to be anti-religious.
Yet for all its deep meaning, "La dolce vita" can be a trial to sit through. Somewhere in the second half I began to lose interest. I don't have a problem with Fellini's deviation from standard plot structure. I do have a problem with a director who doesn't know when to quit. This film goes on for almost three hours. A good edit, to delete all the fat, would have tightened up the story and rendered it more potent. As is, it's too strung out, too stretched, too meandering.
If the viewer can persevere, there's enormous cinematic art in this film. And helped along by Nino Rota's music, the film is wonderfully evocative, at times stylishly melancholy.
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