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  1. Nov 2, 2021 · There are, after all, few cinema beasts as beastly as Zampanò. And wretched though Gelsomina may be, she is elevated by her compassion, not her martyrdom. Even left traumatized and freezing on a roadside, she remains steadfast. In the literal sense, this seems outrageous, debased, superhuman.

    • Is Gelsomina a superhuman?1
    • Is Gelsomina a superhuman?2
    • Is Gelsomina a superhuman?3
    • Is Gelsomina a superhuman?4
    • Is Gelsomina a superhuman?5
  2. If Zarathustra believes that he is the chosen one to teach the human to rise to an upper stage, Gelsomina is obliged to learn to herald the entrance of a superhuman. This transfiguration of a speaker to an observer gives a way to see the world through the eyes of the speechless victims when the superhuman, made by the preachers of the ideology ...

  3. en.wikipedia.org › wiki › La_StradaLa Strada - Wikipedia

    La strada (The Road) is a 1954 Italian drama film directed by Federico Fellini and co-written by Fellini, Tullio Pinelli and Ennio Flaiano. The film tells the story of Gelsomina, a simple-minded young woman (Giulietta Masina) bought from her mother by Zampanò (Anthony Quinn), a brutish strongman who takes her with him on the road.

  4. Feb 25, 2021 · Feb 25, 2021. As Gelsomina (a hauntingly hilarious Giulietta Masina) ponders whether to leave her abusive partner, a kindhearted and nameless fool (Richard Basehart who is super witty even over a...

  5. Mar 20, 2020 · Masina isn’t just playing Gelsomina, she is Gelsomina. Upon my research for this piece, I found out that Masina was considered too old for the role of the young woman who is sold to Anthony Quinn’s strongman Zampanò and is forced into a life on the road.

    • Bianca Garner
  6. May 31, 2012 · Masina played Gelsomina, a young girl sold to a circus strongman by her mother. She begins her new life on the road – ‘la strada’ – as a servant to Zampano, the strong man. He is a brutal figure, who mistreats Gelsomina, even though she adores him.

  7. Jan 29, 2024 · Alina Cojocaru, fragile and infinitely expressive, is the perfect Gelsomina. Even the most banal moves — what Horečná is pleased to call “dirty classicism” — take on a new life. Ice dance-y...

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