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La strada

  • 1954
  • Tous publics
  • 1h 48min
NOTE IMDb
8,0/10
69 k
MA NOTE
Anthony Quinn, Richard Basehart, and Giulietta Masina in La strada (1954)
Trailer for La Strada
Lire trailer1:34
2 Videos
99 photos
Coming-of-AgeTragedyDrama

Une jeune fille insouciante est vendue à un forain et devient victime de souffrances physiques et émotionnelles au cours de leur périple.Une jeune fille insouciante est vendue à un forain et devient victime de souffrances physiques et émotionnelles au cours de leur périple.Une jeune fille insouciante est vendue à un forain et devient victime de souffrances physiques et émotionnelles au cours de leur périple.

  • Réalisation
    • Federico Fellini
  • Scénario
    • Federico Fellini
    • Tullio Pinelli
    • Ennio Flaiano
  • Casting principal
    • Anthony Quinn
    • Giulietta Masina
    • Richard Basehart
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    8,0/10
    69 k
    MA NOTE
    • Réalisation
      • Federico Fellini
    • Scénario
      • Federico Fellini
      • Tullio Pinelli
      • Ennio Flaiano
    • Casting principal
      • Anthony Quinn
      • Giulietta Masina
      • Richard Basehart
    • 188avis d'utilisateurs
    • 119avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompensé par 1 Oscar
      • 12 victoires et 5 nominations au total

    Vidéos2

    La Strada
    Trailer 1:34
    La Strada
    Cate Blanchett and Director James Gray Connect on Great Films About Hope
    Video 12:08
    Cate Blanchett and Director James Gray Connect on Great Films About Hope
    Cate Blanchett and Director James Gray Connect on Great Films About Hope
    Video 12:08
    Cate Blanchett and Director James Gray Connect on Great Films About Hope

    Photos99

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    Rôles principaux15

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    Anthony Quinn
    Anthony Quinn
    • Zampanò
    Giulietta Masina
    Giulietta Masina
    • Gelsomina
    Richard Basehart
    Richard Basehart
    • Il matto
    Aldo Silvani
    Aldo Silvani
    • Colombaioni detto 'Signor Giraffa'
    Marcella Rovena
    Marcella Rovena
    • La vedova
    Livia Venturini
    • La suorina
    Pietro Ceccarelli
    • Il proprietario dell'osteria
    • (non crédité)
    Giovanna Galli
    • La prostututa all'osteria
    • (non crédité)
    Gustavo Giorgi
      Yami Kamadeva
      • Un prostituta
      • (non crédité)
      Mario Passante
      Mario Passante
      • Il cameriere
      • (non crédité)
      Anna Primula
      • La madre di Gelsomina
      • (non crédité)
      Alexandre Trannoy
      • Il giocoliere
      • (non crédité)
      Goffredo Unger
      Goffredo Unger
      • Un uomo che trattiene Zampano
      • (non crédité)
      Nazzareno Zamperla
      Nazzareno Zamperla
      • Un uomo che trattiene Zampano
      • (non crédité)
      • Réalisation
        • Federico Fellini
      • Scénario
        • Federico Fellini
        • Tullio Pinelli
        • Ennio Flaiano
      • Toute la distribution et toute l’équipe technique
      • Production, box office et plus encore chez IMDbPro

      Avis des utilisateurs188

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      9murtaza_mma

      A Potpourri of Vestiges Review: Fellini the Maestro! Zampano the Brute!

      La Strada is the third Fellini movie that I have delighted myself with—the other two being Otto e Mezzo and La Dolce Vita—and coincidentally the least Felliniesque of the three, and I dare say, the simplest to interpret. And precisely that's the reason I have chosen it to begin of my eulogy on Fellini's lifelong masterful works. Fellini's staunch critics had audaciously deemed him narcissistic and his singular works self-indulgent and self-gratifying. Their myopic vision made them overlook the fact that narcissism and solipsism are the very virtues that give form to art and aesthetics. A true artist uses these traits to isolate himself from the worldly pursuits so that he can create a connection with the divine and attain a sense of enlightenment. He then pours his heart out and offers it selflessly in form of his art. Thus, the artist's apparent self-indulgence is actually a means to share his hard earned and newly acquired knowledge, gratis with the rest of the world. Fellini too like any true artist gave his audience what he thought they deserved: a product of his intellect and vision with the sole motive of titillating their senses.

      La Strada is Fellini's improvisation on the epic theme of a beast and a beauty as depicted in the 1740 fairy tale 'Beauty and the Beast' and later on glorified by Victor Hugo's literary marvel 'The Hunchback of Notre-Dame'. What makes Fellini's rendition different is that even though Zampano perfectly fits into the caricature of a beast, Gelsomina falls short of the literary definition of a beauty. However, what Gelsomina lacks in pulchritude is more than made up by her celestial charm and naive disposition. These conflicting traits give Gelsomina an irresistible persona that makes her inexplicably amicable and desirable. Zampano on the contrary does not have a single trait that is likable and offers a great contrast to Gelsomina's innocuous self.

      Zampano is a traveling entertainer who earns a living by performing street acts that demand extreme physical strength. Gelsomina's poor old mother sells her to brutish Zampano for a sum of 10,000 lire as a replacement for her dead daughter Rosa. Zampano ill treats Gelsomina, and despite her compliance and willingness to learn, uses brute force to teach her. She naively acquiesces even to Zampano's sexual advances. Zampano teaches her to jest and dance as well as to play drum and trumpet. One day when she finds him drunk after a night of debauchery, she decides to leave him in order to explore other possibilities. En route, she meets Il Mato—an equilibrist with a great sense of humor. Zampano manages to locate her and forcibly takes her back. Zampano joins the same circus group that Il Matto is a part of. Soon fate presents Gelsomina with an opportunity to choose between Zampano and Il Matto. La Strada goes beyond revealing Gelsomina's choice and its consequences. It accentuates that even the most bestial of the souls has a latent goodness that makes him capable of love and worthy of being loved. La Strada demonstrates that the human emotions defy reason and are driven by instinct.

      Anthony Quinn arguably gives the best performance of his life as the stone cold Zampano. He effortlessly conjures up his brutish alter ego and makes him appear absolutely abominable to the viewer. As Zampano, Quinn manages to portray a caricature that has become the epitome of callous ruthlessness in cinema. Federico Fellini's wife, Giulietta Masina perfectly fits into the sketch of Gelsomina. With the portrayal of Gelsomina, Masina proves her worth as an actress. Her inspired portrayal absolves Fellini from the suspicion that her casting was inspired by motives other than talent. As Gelsomina, she not only offers a striking contrast to Quinn's part, but also manages to create a special place in the movie. In fact, by the end it becomes quite obvious that La Strada belongs to her more than Quinn or, I dare say, Fellini. In the initial few minutes, Masina looks a bit over-aged for Gelsomina's part, but she soon enchants everyone with her peculiar charm and the rest becomes completely immaterial. The cinematography of the movie is highly picturesque and presents the viewer with scenes that get etched permanently in the memory. Nino Rota's mellifluous music gives the movie a lyrical touch.

      Overall, La Strada is a moving experience for aficionados and masses alike. It is a great opportunity for the students and lovers of cinema to get acquainted with Fellini's oeuvre before venturing into his more personal works like Otto e Mezzo, La Dolce Vita, Amarcord and Satyricon. 9/10

      http://www.apotpourriofvestiges.com/
      9artzau

      Fantastic, fantastic, fantastic!

      I saw this film in 1954 and every Fellini film since. Basehart and Quinn under Fellini's skillful direction add a chemistry to Masina's portrayal of innocence that is incredible. I would argue this is Fellini's best film. Everything works. It is so full of little things, from the farm folk hired as extras to the rubber boots worn by Quinn striding into the ring to do his corny strongman act. Fellini nearly drove Masina crazy during the filming-- he wouldn't let her bath or wash her hair for weeks on end-- but, the end result speaks for itself. There are some excellent comments on this film elsewhere in this section. I suggest you read them. I can only say, this is one of the great films.
      8mattreviews

      A beautiful insight ... Masina makes the film her own

      La Strada can sometimes come across as similar to the Hollywood films made in the 1950s, but for the most part, is a unique and beautiful story. It concerns a young woman, Gelsomina, being given to traveling "artist" Zampano by her poor mother in exchange for money. Zampano makes his money by traveling around Italy, putting on a strong-man show for crowds. Gelsomina has dreams of becoming an artist as well, and therefore was more than happy to go with Zampano, but Gelsomina quickly realises that Zampano is nothing more than a drunkard and a brute, with eating, sleeping and sex being the only things he cares for.

      The character of Gelsomina, played by Giulietta Masina, is the highlight of the film. With a face like no other, it exudes a certain beauty but is also very odd, with a definite quirkiness to it …"like an artichoke". Masina is excellent as expressing emotions with nothing more than a look, and it is because of this that the film stands strong. The story itself is simple, but with Gelsomina being such a romantic at heart, she is constantly searching for love and an understanding of a world she doesn't know, being such a sheltered loner when living with her mother and four younger sisters.

      Zampano, the traveling strong-man, follows the basic of human instincts, irrespective of their bearing on others, namely Gelsomina. Anthony Quinn gives the character a great ignorance, Zampano being, for the most part, oblivious to the impact his actions have, only wanting to be able to earn money to eat and drink wine, and sleep with women. It is not until Zampano and Gelsomina (Gelsomina having become Zampano's sidekick in his traveling show) take on a position as part of a circus in town, and Gelsomina meets an acrobat clown, credited in the film as Il Matto – The Fool. She falls for his happy and carefree nature, exampled when he teases Zampano whilst he is trying to do his show. Zampano soon despises the Fool, and becomes jealous of the friendship forming between Gelsomina and the clown. This is where Zampano begins to show real emotion, and although he doesn't deal with the situation in the most appropriate way, it is the beginning of his life experience that changes him forever.

      The film is gorgeous, with some memorable characters, namely Gelsomina. It doesn't end on a happy note, but you are still left satisfied with the story told, especially the lesson taught to Zampano, although it was all too late for him, and it is not certain that he learned from the experience. Masina is an absolute delight to watch, holding you captive with her face alone, beaming with love. The film is not for those looking for Hollywood drama and action, but for anyone who knows how it feels to be confused and in need of understanding about life's ways.
      jmoulder

      La Strada: Fellini's masterpiece

      It is the early sixties in Annapolis, Maryland. Although a Third Class Petty Officer in the Navy, I am still in my teens & have never sampled the cinema except for what Hollywood has had to offer. I have just stumbled out of a theater & I am stunned yet aware that I have just witnessed a work of art that was devoid of compromise. That work was La Strada, a cinematic creation directed by Federico Fellini. I have viewed this film several times since but it never pales & each time I take away something new. In this post I'll concentrate on the main characters & some of the cast.

      Anthony Quinn was perfect for the role of Zampano, the grubby strongman performer touring the villages & countryside of post-WW2 Italy. No other actor of the day could have possibly brought what Quinn brings to the role. There may have been some European actor who would not have shamed himself in the part, but I can't think of who it might have been & certainly no actor known by Hollywood could have done so well as Quinn. One has to resort to other eras & reach far into the imagination to attempt such speculation. If Wallace or Noah Beery, sr. could have managed a not too corrupted Italian persona; perhaps. If Gilbert Roland had lifted weights & taken supplements for a year; maybe. Victor McLaglen could never have passed for Italian – don't laugh – he had the rugged looks & the physique. Ricardo Montalban? Too handsome. Ditto, Victor Mature. Mitchum was way too 'American.' Nehemiah Persoff, Eli Wallach, Telly Savalas, Rod Steiger, Karl Malden, even Van Heflin, all considered, all rejected. Brando might have been credible. One remembers "A Streetcar Named Desire" & "On the Waterfront" & thinks: Possibly. But Quinn plays the role as if it was what he was put on earth to do.

      Quinn's Zampano is earthily callous yet the viewer senses vulnerability buried deep within the character. Among other facets his perfect performance presents to the viewer is a faintly perceived inkling of past disappointments, of indirectly inferred reasons that Zampano is cruel & insensitive. Quinn's consummate technique paints the broad picture of a lout yet the viewer is able to pull a slender thread of sympathy from his character & that sympathy is necessary for the end of the movie. To be very bad & to still be likable, if only barely, is produced by Quinn as if it were a gift to the viewer. It is acting on the highest possible plane.

      Giulietta Masina plays Gelsomina, a tattered urchin Zampano purchases from her poverty-bested mother. Here too, the viewer witnesses genius of casting. Masina's face is one of Fellini's main canvases in the film. It mugs, it displays pride, love & resignation in fleeting cascades of expression, sometimes all within a second. Even without the plasticity of her face her body alone would be enough to write volumes for the viewer. It gambols, prances, pratfalls & cunningly sneaks, sometimes at breakneck speed though the viewer's eye is never allowed to blur these perceptions despite the rapidity of much of the execution.

      Richard Basehart plays the Fool, foil to Quinn's brute. Whereas Quinn's act subsists on feats of strength, Basehart's character is all about finesse: juggling, acrobatics & tightrope-walking. Zampano is awkward on those occasions that he attempts real affection toward Gelsomina. The Fool is light strokes of joviality; joking & flirting is his natural mode. Zampano's voice is gruff and in the baritone range; Basehart's lines are delivered high-pitched, with a lilting modulation. However, just as Zampano has an almost hidden vein of sensitivity, Basehart imbues his lighthearted portrayal with a close to imperceptible strand of hardness.

      The vehicle of the plot is a journey, but a journey with no particular physical destination. In a work such as "Huckleberry Finn" Twain provides a direction(down-river with the current). Here the characters appear to wander aimlessly from place to place, seemingly interacting by chance with whoever they meet & somehow this very lack of goal helps to give the piece a lifelike aura of randomness. The viewer becomes unaware of watching a film. Like all truly great works of art, technique never intrudes & the viewer could be a fly on the wall.

      This lack of artificiality allows the viewer to be fully immersed in the unfolding events. The landscape is the blasted Italian environment just after WW2 & is symbolic of the work's bleak message. The camera rolls on weeds, shacks, broken concrete, poorly maintained roadways, dry, desolate hinterlands & famine-ridden villages. There is no looking away allowed, the viewer is made to see, forced to behold stark realities.

      It is impossible to say exactly what makes this film a masterpiece. By a mysterious & perhaps lucky combination of ingredients it propels itself into the highest circle of cinema. The end is emotionally wrenching & I would venture that few are able to leave it as I did long ago in Annapolis without a sense of having been deeply moved.
      10jhclues

      Zampano, Is HERE!

      A man of uncommon strength, who lives on the road and makes his living as an entertainer performing feats of strength, but who masks the emptiness of his life with a perpetual show of bravura, is the focal point of `La Strada,' directed by Federico Fellini and written by Fellini and Tullio Pinelli. It's the story of Zampano (Anthony Quinn), who travels from town to town, eking out a meager living by passing the hat after each performance, which consists mainly of wrapping a quarter-inch chain made of iron around his chest, then breaking it by expanding his lungs. In his endeavors he is assisted by Gelsomina (Giulietta Masina), a simple-minded young woman who is devoted to this selfish man endowed with little more intelligence than she. The tragedy of Zampano is that while he seeks fulfillment in meaningless carnal pursuits and the hollow acclaim of strangers, the happiness that eludes him is at hand; but his own self-deception prevents him from recognizing what a treasure he already has in Gelsomina. One of Fellini's earliest films, there is a straightforward, almost simplistic richness to his style, both visually and narratively, that is devoid of the surreal atmosphere with which he invests his later projects. Still, the mood he creates is mesmerizing, aided to a great extent by the haunting theme and score by Nino Rota. It is a story that gradually draws the viewer in through the sympathy evoked by the gentle innocence of Gelsomina, whose purity of spirit is seemingly in such stark contrast to that of Zampano. Watching her respond to his unthinking brutality of her with unadulterated kindness, time after time, is heartrending; and in the end, when Zampano ultimately secures our sympathies as well, it seems almost contradictory, though contextually just. As Zampano, Anthony Quinn gives what is arguably one of the best performances of his career; with depth and nuance, he creates the epitome of the brutal simpleton, a man whose lack of wit forces him to exist by the most basic of instincts. And Quinn conveys it all so perfectly, both physically and emotionally; it is an inspired, memorable performance. But without question, the true heart of the film is provided by the wondrous Giulietta Masina. What a superb, unforgettable performance; everything about her is totally engaging, beginning with the supple roundness of her face, which accentuates her expressive eyes and winning smile. Her Gelsomina is so lithe, her presence so angelic, that at times it seems as if she is about to float up off the screen. She conveys such compassion and vulnerability, such warmth of being, that it becomes impossible not to lose your heart to her. It is quite simply an irresistible, truly heartwarming performance. Also, in an exceptionally effective supporting role, is Richard Basehart, as Il `Matto,' the `Fool.' A tightrope walker by trade, the Fool is the antithesis of Zampano, a lighthearted soul who befriends Gelsomina and becomes her voice of hope and logic, while at the same time manifesting a taunting, challenging and unwelcomed presence to Zampano. Ironically, it is the Fool who becomes the catalyst for the tragedies that ultimately befall Gelsomina, and finally Zampano. The supporting cast includes Aldo Silvani (Il Signor Giraffa), Marcella Rovere (The Widow) and Livia Venturini (The Sister). An earthy, thought-provoking film, `La Strada' is one that will linger on sweetly in your mind's eye; the images and impressions it creates may, with time, dissolve-- but the essence of it will remain with you always. For once Fellini has touched you, it is forever. I rate this one 10/10.

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      Histoire

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      Le saviez-vous

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      • Anecdotes
        Anthony Quinn was working on a film with Giulietta Masina (Donne Proibite - 1954) when she introduced him to her husband, Federico Fellini. He was immediately convinced that the Mexican-born actor would make the perfect Zampanò the strongman in his new film, which was to become La strada (1954), and implored him to accept the role. The nonplussed actor, who had no idea who Fellini was, initially turned him down, but Fellini was persistent, pestering him for days about the project. Shortly thereafter, Quinn spent the evening with Ingrid Bergman and her husband, director Roberto Rossellini. After dinner, the three watched Fellini's most recent film, the comedy-drama Les vitelloni (1953), and Quinn realized with astonishment that the crazy Italian filmmaker who had been hounding him for days was a genius.
      • Gaffes
        When Zampanò meets The Fool while he is repairing a flat tire on his car, the left front wheel is removed and the car is jacked. Right after the altercation, when Zampanò pushes The Fool's car, the wheel rim is back and not jacked anymore.
      • Citations

        The Fool: If you won't stay with him, who will? I'm an ignorant man, but I've read a book or two. You may not believe it, but everything in this world has a purpose. Even this pebble, for example.

        Gelsomina: Which one?

        The Fool: This one. Any one. But even this one has a purpose.

        Gelsomina: What's its purpose?

        The Fool: Its purpose is - how should I know? If I knew, I'd be...

        Gelsomina: Who?

        The Fool: The Almighty, who knows everything. When you're born. When you die. Who knows? No, I don't know what this pebble's purpose is, but it must have one, because if this pebble has no purpose, then everything is pointless. Even the stars! At least, I think so. And you too. You have a purpose too.

      • Versions alternatives
        The German theatrical version was cut by about 6 minutes to speed up the films pacing. DVD release also contains the Italian uncut version as a bonus feature.
      • Connexions
        Edited into Histoire(s) du cinéma: La monnaie de l'absolu (1999)
      • Bandes originales
        La Strada Love Theme
        (1954) (uncredited)

        Music by Nino Rota and Michele Galdieri

        Published by Leeds

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      FAQ17

      • How long is La Strada?Alimenté par Alexa

      Détails

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      • Date de sortie
        • 11 mars 1955 (France)
      • Pays d’origine
        • Italie
      • Langue
        • Italien
      • Aussi connu sous le nom de
        • La calle
      • Lieux de tournage
        • Via Corinto, Rome, Lazio, Italie(Gelsomina waiting for Zampano to come out of police station)
      • Société de production
        • Ponti-De Laurentiis Cinematografica
      • Voir plus de crédits d'entreprise sur IMDbPro

      Box-office

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      • Montant brut mondial
        • 41 362 $US
      Voir les infos détaillées du box-office sur IMDbPro

      Spécifications techniques

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      • Durée
        1 heure 48 minutes
      • Couleur
        • Black and White
      • Rapport de forme
        • 1.37 : 1

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      Anthony Quinn, Richard Basehart, and Giulietta Masina in La strada (1954)
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      By what name was La strada (1954) officially released in India in English?
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