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La Dolce Vita

Original title: La dolce vita
  • 1960
  • Not Rated
  • 2h 54m
IMDb RATING
8.0/10
75K
YOUR RATING
POPULARITY
3,810
38
La Dolce Vita (1960)
Watch Trailer [English SUB]
Play trailer1:35
3 Videos
99+ Photos
ComedyDrama

A series of stories following a week in the life of a philandering tabloid journalist living in Rome.A series of stories following a week in the life of a philandering tabloid journalist living in Rome.A series of stories following a week in the life of a philandering tabloid journalist living in Rome.

  • Director
    • Federico Fellini
  • Writers
    • Federico Fellini
    • Ennio Flaiano
    • Tullio Pinelli
  • Stars
    • Marcello Mastroianni
    • Anita Ekberg
    • Anouk Aimée
  • See production, box office & company info
  • IMDb RATING
    8.0/10
    75K
    YOUR RATING
    POPULARITY
    3,810
    38
    • Director
      • Federico Fellini
    • Writers
      • Federico Fellini
      • Ennio Flaiano
      • Tullio Pinelli
    • Stars
      • Marcello Mastroianni
      • Anita Ekberg
      • Anouk Aimée
    • 219User reviews
    • 172Critic reviews
    • 95Metascore
  • See more at IMDbPro
    • Won 1 Oscar
      • 11 wins & 12 nominations total

    Videos3

    Trailer [English SUB]
    Trailer 1:35
    Watch Trailer [English SUB]
    La Dolce Vita: [2-Disc Collectors Edition]
    Trailer 0:31
    Watch La Dolce Vita: [2-Disc Collectors Edition]
    La Dolce Vita Trailer
    Trailer 1:16
    Watch La Dolce Vita Trailer

    Photos112

    Yvonne Furneaux in La Dolce Vita (1960)
    Anita Ekberg in La Dolce Vita (1960)
    Marcello Mastroianni and Yvonne Furneaux in La Dolce Vita (1960)
    Federico Fellini in La Dolce Vita (1960)
    Anita Ekberg in La Dolce Vita (1960)
    Marcello Mastroianni, Walter Santesso, and Mary Janes in La Dolce Vita (1960)
    Anita Ekberg in La Dolce Vita (1960)
    Marcello Mastroianni and Yvonne Furneaux in La Dolce Vita (1960)
    Marcello Mastroianni, Evelyn Stewart, Audrey McDonald, and Nico in La Dolce Vita (1960)
    Anita Ekberg in La Dolce Vita (1960)
    Marcello Mastroianni and Anita Ekberg in La Dolce Vita (1960)
    Federico Fellini and Anouk Aimée in La Dolce Vita (1960)

    Top cast

    Edit
    Marcello Mastroianni
    Marcello Mastroianni
    • Marcello Rubini
    Anita Ekberg
    Anita Ekberg
    • Sylvia
    Anouk Aimée
    Anouk Aimée
    • Maddalena
    • (as Anouk Aimee)
    Yvonne Furneaux
    Yvonne Furneaux
    • Emma
    Magali Noël
    Magali Noël
    • Fanny
    • (as Magali Noel)
    Alain Cuny
    Alain Cuny
    • Steiner
    Annibale Ninchi
    Annibale Ninchi
    • Il padre di Marcello
    Walter Santesso
    Walter Santesso
    • Paparazzo
    Valeria Ciangottini
    • Paola
    Riccardo Garrone
    Riccardo Garrone
    • Riccardo
    Evelyn Stewart
    Evelyn Stewart
    • Debuttante dell'anno
    • (as Ida Galli)
    Audrey McDonald
    • Jane
    Polidor
    Polidor
    • Pagliaccio
    Alain Dijon
    • Frankie Stout
    Mino Doro
    Mino Doro
    • Amante di Nadia
    Giulio Girola
    • Commissario di polizia
    Laura Betti
    Laura Betti
    • Laura
    Nico
    Nico
    • Nico
    • (as Nico Otzak)
    • …
    • Director
      • Federico Fellini
    • Writers
      • Federico Fellini
      • Ennio Flaiano
      • Tullio Pinelli
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      The famous scene in the Trevi Fountain was shot over a week in March, when nights were still cold. According to Federico Fellini (in an interview with Costanzo Costantini), Anita Ekberg stood in the cold water in her dress for hours with no trouble. Marcello Mastroianni, on the other hand, had to wear a wetsuit beneath his clothes, and even that wasn't enough. Still freezing, he downed an entire bottle of vodka, so he was completely drunk while shooting the scene.
    • Goofs
      When Marcello and Maddalena arrive at the prostitute's apartment, a long electric cable (light?) can be seen attached to the right rear of the car, moving along until the car stops.
    • Quotes

      Steiner: Don't be like me. Salvation doesn't lie within four walls. I'm too serious to be a dilettante and too much a dabbler to be a professional. Even the most miserable life is better than a sheltered existence in an organized society where everything is calculated and perfected.

    • Alternate versions
      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.
    • Connections
      Featured in Divorce Italian Style (1961)
    • Soundtracks
      Patricia
      Music by Dámaso Pérez Prado and lyrics by Bob Marcus

      Performed by Dámaso Pérez Prado

    User reviews219

    Review
    Review
    Featured review
    Women: Handkerchiefs, Shirts and Bras
    When it comes to art, the best one can do is receive it with grace, measure it against one's soul and if one is so inclined, speak from the heart about it. That's the only thing that matters, all else falling away. Comments about the execution are irrelevant, really. If someone talks about that, it isn't from their heart and doesn't really matter. This is excellently executed, but with art the only demand is that it cross a threshold of competence, making it close enough for us to reach. All else is decoration. Read elsewhere for comments on the decorative qualities of this.

    I'll start from the end. I recommend you see this because it is a necessary launching ramp for "8 1/2." I believe that film is essential viewing for any citizen of the world, and to get it, you have to sit through this. Its roughly the same shape: Fellini himself, an empty and artless man posing as an artist who can only place himself in a definition of emptiness defined by the seven types of women.

    In this world — a convincing one — women define the world by their being, and all spaces — physical spaces I mean — are carried by them into existence. Men merely stand between surrounding walls and the woman who made them whether she is present or not. When strained through the cloth of cinema, we have something like this film. (I wish some Japanese filmmaker would do for this what "H Story" did to "Hiroshima Mon Amore" but in Barcelona.)

    So it is a competent film, even decorative. It is art, and for reasons beyond itself, you should see it.

    But it doesn't measure well against my soul. Nor famously did it against Fellini's, which is why, after a celebrated crisis, he developed a different style for his next films. I suppose it is true that you could see this as about the bankruptcy of Roman aristocrats, or about more general bankruptcy of men. But I see it as about Fellini's own self inflicted, selfaware malaise.

    But why is this one recommended to be rejected and the later one valued? Because of the cinematic form, dear friends. That's all that matters. Usually this form is considered realistic or neorealistic and the later films fantastic surreal. I think we can do better than that. The "neorealistic" films are composed by a self that stands outside. It sees and reports. It sees and judges; this is a film that assumes judgment. Its an essay, "explained" because both the filmmaker and the viewer stand outside it. Even the edges of the frame are perfectly placed, so as to remind us of the window we peer through.

    "8 1/2" and his other project I admire ("Block-notes di un regista") have the filmmaker distinctly in the thing. The edges shift. We are invited in. Some things aren't clear, what we encounter hasn't been filtered to make sense for us. Its a party, but not one the camera understands, so we are in the midst of the battle instead of observing the party.

    So if it is art you come for, you won't find it here unless you think competent decoration and impressive effect matter. What matters is whether the artist's blood mingles with ours, and Fellini didn't bleed until after this, probably because of this. Later, he did add that girl at the beach so his types of women total 8. I suppose you need to see this, then "8 1/2," then Greenaway's "8 1/2 Women."

    It may not be the best way to capture a film, by bracketing it somehow. But it works for me in this case. This is just a bracket.

    +++++++

    One could say things about many of the characters and performances, and I cannot resist mentioning one: Nico. In the next to last segment, she plays a top model engaged to a royal nitwit. We gather at his castle and go ghost-hunting where we are given the woman-outside- the-walls story. This was when she really was a top model and before she became Andy Warhol's primary avatar in the world. She originated the "Gothic" look copied by millions of girl misfits. She reinvented a form of sultry singing (then newly in rock) that turns the notion of this movie inside out: deliberately soulless and therefore attractive.

    This film also brackets her amazing glow as the Chelsea Girl. THE Chelsea Girl.

    You should know about her. She had a real life. We all live in the ashes, unbeknownst.

    Ted's Evaluation -- 3 of 3: Worth watching.
    helpful•14
    9
    • tedg
    • Nov 27, 2006

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    FAQ1

    • What is the English translation of the title "La dolce vita"?

    Details

    Edit
    • Release date
      • April 19, 1961 (United States)
    • Countries of origin
      • Italy
      • France
    • Official site
      • Official site
    • Languages
      • Italian
      • English
      • French
      • German
    • Also known as
      • The Sweet Life
    • Filming locations
      • Villa Giustiniani-Odescalchi, Bassano Romano, Viterbo, Lazio, Italy(Abandoned castle scenes)
    • Production companies
      • Riama Film
      • Cinecittà
      • Pathé Consortium Cinéma
    • See more company credits at IMDbPro

    Box office

    Edit
    • Gross worldwide
      • $198,220
    See detailed box office info on IMDbPro

    Technical specs

    Edit
    • Runtime
      2 hours 54 minutes
    • Color
      • Black and White
    • Aspect ratio
      • 2.35 : 1

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