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Jan 30, 2016 · In fact, Fellini’s La Dolce Vita stands at the antipode of the traditional cinematographic narrative style: the story itself is a carnivalesque parade of seemingly unconnected episodes narrating a week of the chaotic life of the protagonist, the gossip columnist Marcello, interpreted by Marcello Mastroianni in one of the finest and most ...
May 20, 2021 · The party itself, while full of constant activity, seems to lack any kind of sustained energy or feeling. The guests are happily and proudly aware of themselves as decadent and talk of their party as a potential orgy, yet the energy to bring about anything like a real orgy is lacking.
- Introduction
- The Film
- The Film Star
- Steiner
- Emma
- Conclusion
La Dolce Vita has often been considered one of Fellini’s weaker films, interesting but flawed, with this assessment especially true when it is contrasted with other of his works such as Otto e Mezzo and La Strada (which both received, and continue to receive, greater critical plaudits). Halliwell describes it as an ‘episodic satirical melodrama, a ...
While many critics, (misled?) led on perhaps by the film’s title (La Dolce Vita means ‘The Sweet Life’), have focused on the film’s portrayal of a glamorous and corrupt Roman society, the central character, and true subject, of the film is the gossip columnist Marcello (played by the eponymous Marcello Mastroianni). La Dolce Vita is an episodic wor...
The next section of the film involves the arrival of the actress Sylvia Rank played by Anita Ekberg. As a film star -and a blonde haired, large-breasted American one- she is the centre of a Roman media frenzy, and thus in this section the media has a central role. The section begins with a swarm of photographers descending on her plane as it arrive...
Steiner is the most tragic character in the film. To Marcello he represents and offers the intellectual life away from his sordid journalism. He appears at three separate points in the film. First, Marcello accidentally meets him in a church in a section which occurs immediately after the end of the episode discussed above. Secondly, when he hosts ...
As Marcello’s girlfriend, Emma plays a central role in the film, and despite their difficulties they are still together at its end. Their relationship is heavily weighted towards Marcello. While he seems independent of and doubtful of the relationship, it dominates her life. Her major demand throughout the film is for Marcello to love her and she c...
A great piece of cinema manages to communicate some sense of life itself. Of what it feels like to live and remember. As the party ends and the guests drift away from the beach, we look into the girl’s smile, a perfect wistful ending to this elegiac, unkempt odyssey of a film. Drowned out by the sea Marcello is incapable of talking to her and stumb...
Sep 24, 2020 · La dolce vita (1960), or ‘the sweet life’, is often viewed as the sweet spot of transition for Italian auteur Federico Fellini. It represented the turning away from his earlier, more neorealism-tinged 1950s work (I vitelloni, La strada), heading towards the freewheeling fantasias of the next decade and beyond (8½, Amarcord).
"what La Dolce Vita lacks is the structure of a masterpiece. In fact, the film has no proper structure: it is a succession of cinematic moments, some more convincing than others… In the face of criticism, La Dolce Vita disintegrates, leaving behind little more than a sequence of events with no common denominator linking them into a meaningful ...
La Dolce Vita, Italian film, released in 1960, that was widely hailed as one of the most important ever made and the first of several acclaimed collaborations between director Federico Fellini and actor Marcello Mastroianni, who came to represent the director’s alter ego.
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Jan 11, 2020 · Sixty years on, La Dolce Vita is a memory of a Rome that no longer exists. Sixty years on and Fellini’s blasphemous and fabulous magnum opus is still one of the most stylish films ever made ...
