La strada
- 1954
- Tous publics
- 1h 48min
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
- Scénario
- Casting principal
- Récompensé par 1 Oscar
- 12 victoires et 5 nominations au total
- Il proprietario dell'osteria
- (non crédité)
- La prostututa all'osteria
- (non crédité)
- Un prostituta
- (non crédité)
- Il cameriere
- (non crédité)
- La madre di Gelsomina
- (non crédité)
- Il giocoliere
- (non crédité)
- Un uomo che trattiene Zampano
- (non crédité)
- Un uomo che trattiene Zampano
- (non crédité)
Avis à la une
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.
This could be considered Fellini's first masterpiece. His previous work was, of course, excellent, but with "La Strada", he proved he had an amazing understanding of the characters he presents to us. It is almost as though, he had known these people all his life and just decided to incorporate them in a movie. This is a film that showed an Italy that had suffered a defeat during WWII. Italy was struggling to heal itself from the horrible times it had lived during the conflict and what the director and his collaborators show us is an impoverished country trying to cope with the new reality. La Strada" is a film about the suffering and hard times the citizens had gone through, but also shows hope in an uncertain future.
Zampano, the brutish street performer, was a man that showed no redeeming qualities. He returned to the beach shack where Rosa's mother and siblings live to tell them about her death. Watching the young and innocent Gelsomina, he figures he has found a substitute for the act. Zampano is a misogynistic man who only cares about his pleasure, not paying any attention to the needs of the young woman who is not street wise.
The film, in a way, is Fellini's type of 'road movie' because we are taken along the byways of the country, before the construction of the super highways, to witness Zampano as he practices his trade from town to town. Gelsomina soon catches on, and in her heart she believes Zampano is, in his own way, the man for her. Unfortunately, Zampano leaves Gelsomina whenever a new woman strikes his fancy. He uses Gelsomina as a slave.
When they meet Il Matto, the good natured tight wire artist, Zampano notices how Gelsomina responds to this kind soul. Il Matto, in spite of what he feels about Zampano, advises Gelsomina to stay with him. A fatal judgment it proves to be. Tragedy arrives when Zampano and Gelsomina run into Il Matto on the road. This incident unravels Zampano as he begins a spiral descent into hell because his conscience doesn't let him have peace, and in turn, Gelsomina, makes sure to let him know she knows the immensity of what he has done.
Zampano in abandoning Gelsomina thinks he has solved all his problems, but a few years later he comes across a young woman who is humming the song that Gelsomina used to sing. In fact, we learn what happened to the sweet girl, and we are shocked and saddened. Zampano, who seems to be a man without any feeling, upon learning this walks away, but his guilt gets the best of him and we watch him as he breaks down as the film comes to an end.
Anthony Quinn had one of the best moments of his long and distinguished career with Zampano. His understanding of this cruel man makes the film work the way it does. Mr. Quinn's interpretation of the street performer is real and we can see what kind of man he really is. Our perception of this man, who has led us to believe he has a heart of stone changes at the end when we see his breakdown.
Giulietta Masina is perfect as Gelsomina. This actress, married to Mr. Fellini, had an uncanny way of transforming herself into the young and naive woman and makes her come alive. Gelsomina personifies all the best qualities any person could aspire to have. It comes naturally for her to be good; Gelsomina doesn't have malice and is a grown up child in many ways.
Richard Basehart has some good moments in the film as Il Matto. In fact, Fellini elicited a great performance from this actor, who took a big gamble accepting the challenge that his character demanded from him. Mr. Basehart proved he was an extraordinary actor and it shows in this film.
"La Strada" is a film that will live forever thanks to the man who had the vision to bring it to the screen: Federico Fellini!
Le saviez-vous
- AnecdotesAnthony 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.
- GaffesWhen 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 alternativesThe 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.
- ConnexionsEdited into Histoire(s) du cinéma: La monnaie de l'absolu (1999)
Meilleurs choix
- How long is La Strada?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langue
- 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
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Montant brut mondial
- 41 362 $US
- Durée1 heure 48 minutes
- Couleur
- Rapport de forme
- 1.37 : 1