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Juliette des esprits

Titre original : Giulietta degli spiriti
  • 1965
  • Tous publics
  • 2h 17min
NOTE IMDb
7,4/10
15 k
MA NOTE
Juliette des esprits (1965)
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99+ photos
ComedyDramaFantasy

Visions, souvenirs et mysticisme aident une femme de la quarantaine à trouver la force de quitter son mari infidèle.Visions, souvenirs et mysticisme aident une femme de la quarantaine à trouver la force de quitter son mari infidèle.Visions, souvenirs et mysticisme aident une femme de la quarantaine à trouver la force de quitter son mari infidèle.

  • Réalisation
    • Federico Fellini
  • Scénario
    • Federico Fellini
    • Tullio Pinelli
    • Ennio Flaiano
  • Casting principal
    • Giulietta Masina
    • Sandra Milo
    • Mario Pisu
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,4/10
    15 k
    MA NOTE
    • Réalisation
      • Federico Fellini
    • Scénario
      • Federico Fellini
      • Tullio Pinelli
      • Ennio Flaiano
    • Casting principal
      • Giulietta Masina
      • Sandra Milo
      • Mario Pisu
    • 92avis d'utilisateurs
    • 57avis des critiques
    • 84Métascore
  • Voir les informations de production sur IMDbPro
    • Nommé pour 2 Oscars
      • 12 victoires et 5 nominations au total

    Vidéos1

    Trailer
    Trailer 1:16
    Trailer

    Photos107

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    Rôles principaux70

    Modifier
    Giulietta Masina
    Giulietta Masina
    • Giulietta Boldrini
    Sandra Milo
    Sandra Milo
    • Susy…
    Mario Pisu
    • Giorgio (Giulietta's husband)
    Valentina Cortese
    Valentina Cortese
    • Valentina
    Valeska Gert
    Valeska Gert
    • Pijma
    José Luis de Vilallonga
    José Luis de Vilallonga
    • Giorgio's friend
    • (as José De Villalonga)
    Friedrich von Ledebur
    Friedrich von Ledebur
    • Headmaster
    • (as Fredrich Ledebur)
    Caterina Boratto
    Caterina Boratto
    • Giulietta's mother
    Lou Gilbert
    • Grandfather
    Luisa Della Noce
    • Adele
    Silvana Jachino
    Silvana Jachino
    • Dolores
    Milena Vukotic
    Milena Vukotic
    • Elisabetta, the maid
    • (as Milena Vucotic)
    • …
    Fred Williams
    • Lynx-Eyes' agent
    Dany París
    • Desperate friend
    Anne Francine
    Anne Francine
    • Psychodramatist
    Sylva Koscina
    Sylva Koscina
    • Sylva
    Elena Fondra
    • Elena
    George Ardisson
    George Ardisson
    • Dolores' model
    • (as Giorgio Ardisson)
    • 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 utilisateurs92

    7,415.3K
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    Avis à la une

    9cineaste-4

    Technicolor Psyche of a Woman at a Loss for Love

    I was 15 years old when I stumbled into a cinema and caught my first Fellini film -- Juliet of the Spirits. I was so jazzed, wowed and bedazzled by it, I'm sure I went back a few more times. It led me to other Fellini films and, since, he's become my favorite film director.

    Though at age 15, I shouldn't have been able to relate very well with this story of an Italian middle-aged woman and her crumbling psyche (what with her failing marriage, her unsympathetic relatives and her repressive childhood), the movie made me care about this woman and showed me sights on film that I'd never seen before.

    Masina (Fellini's wife), in her performance, has nearly everything to do with making Juliet's story meaningful, even to a teenaged boy in California. The character's thoughts flash, unspoken, across her face. Her fear, her

    bemusement, her insecurities--all are writ in italics and I had no trouble empathizing with Juliet.

    Fellini, though, makes the film an occasion to witness how far the medium can go in bringing alive a person's inner life. The weird and awful power of (subjective) memory, the dream state, the spectres of loneliness, betrayal and Catholic mythology: all these and more overtake the screen, dominate the imagery and play the antagonists to Juliet who, as seen by the other "real" characters in the story, is just a simple, loving housewife and neighbor. Juliet finally has to face her demons and either vanquish them or go mad. By the end of the film, we know most of her demons, where they came from, whom they represent and what they mean. What an accomplishment!

    In a clinical setting, Fellini dropped LSD around the time he concocted this film. That may be one reason the movie is so psychedelic. This also was his first feature in color. The music is unforgettable. Costumes should have won the Oscar, but that honor went to "Man for all Seasons".

    Incidentally, I've bought and viewed the DVD of this movie. It's quite washed-out and not as good as an available VHS letterboxed version.

    I'll always miss Fellini, but am so grateful that he was able to make this film and over a dozen others.
    7Cineanalyst

    Nine; or, Fellini's Other Half

    "Juliet of the Spirits" is one way, I suppose, to make a dissatisfied bourgeois housewife's life look intriguing--a colorized "8 1/2" (1963) for writer-director Federico Fellini's actress-wife, Giulietta Masina. Most of this one involves her concern over her husband's philandering, but there's also her childhood memory--apparently, a traumatic event of some sort--of playing the central role of the martyr in a Catholic-school play. Plus, there's the circus of fashion and sex in the world of modeling and other carnivalesque endeavors that seems to surround her through her husband's work and that of her other family members, friends and neighbors. Much of this bombards her as surreal visual and audible hallucinations. I don't care to get into the Freudian or Jungian analysis of her problems, though. That nonsense is quite dull--like a lazy housewife dozing off while sunbathing on a beach. Kudos to Fellini, though, for making it look a sumptuous spectacle.

    Instead of the director double standing in for Fellini in "8 1/2," who faces a creative crisis, the housewife here traces her marital trap back to the stage of her religious performance. Eventually, the promise of her salvation involves rescuing that childhood memory. This also seems to be the key, slight as it may be, to suggestions that "Juliet of the Spirits" alludes to Lewis Carroll's Alice books. I've been seeking a bunch of films inspired by that children's literature since reading them, and I came to this after reviewing Woody Allen's "Alice" (1990), which is said to be a reworking of this Fellini film, which also seems to be a slight connection to me having now viewed both, but I digress. If there is some of Carroll's Alice in Fellini's Giulietta, it's in their shared repressed childhood. Of course, the Alice books predate Freud and Surrealism and are nonsense rather than analytical, but they likewise parody their protagonist's outer reality within the dreamworld. That includes nursery rhymes and other prior children's literature. Likewise, "Juliet of the Spirits" ends up parodying film by turning it into a mode for surveillance of the husband's dalliances, or as a source of mockery via television.

    Besides, akin to Wonderland, taking place along beaches, gardens and forests, note, too, how this film begins and ends visually. Within the first scene, there is a virtuoso shot through a series of looking glasses--announcing a mirror motif that continues to some extent throughout the picture. And, the ending includes the opening of a small door, so that Giulietta may finally enter the tunnel she's heretofore repeatedly shunned--especially as offered by her Caterpillar of a neighbor, who sports a butterfly tattoo (not as explicit as the White Rabbit ink in "The Matrix" (1990), but still...) and tries to show Giulietta who she may become. Although, with all the ridiculous head gear here, there really ought to be a Mad Hatter about; after all, it was a cat, like the Cheshire one with Alice, that led Giulietta to her neighbor's mad Champagne party (hey, they're Italian--not English). Moreover, the neighbor guides her quite vividly, what with the sex mirror on the ceiling, all of the deflowering going about alongside her flower-covered staircase, and the vaginal-like openings, through a pool slide and a hole to a platform in the trees (where, presumably, more sex is to occur). It's this Wonderland nonsense that's lustrous.
    7jamesrupert2014

    Strange, symbolic, and surreal but ultimately unfulfilling

    Juliet, a plain (relatively speaking) woman (Giulietta Masina) finds the will to leave her philandering husband through strange visions and the weird sybaritic lifestyle of her neighbour Suzy (Sandra Milo). As much as I like Giulietta Masina, I didn't like this film as much the earlier neo-realist work she did with husband Federico Fellini, such as the superb 'La Strada' (1954). I am not a big fan of the flamboyant grotesqueries in which Fellini indulged himself in the 60s (although there are some striking images (both in dreams and in reality) in this film such as the parade on the beach or the strange recurring row of nuns). As usual, Masina, with her beautifully expressive face, is irresistible and although I didn't really like the film, I am glad I watched it.
    8CitizenDain

    Unique to the medium

    This film by Fellini is basically the female version of 8 1/2. Instead of delving into the mind of a middle-aged Italian man dealing with problems with his wife and trying to figure out who he really is, it is about a middle-aged Italian woman dealing with problems with her cheating husband and trying to figure out who she really is. (I still can't decide who I like more as a lead in a Fellini film... Masina or Mastroianni.) The film is very enjoyable, and is definitely one of the films I would classify as a work of art. The one thing that really stands out to me, however, is this: It could only exist as a film. Most films are adapted from previously written novels, or at the very least can suffer the indignation of a "novelization" without losing the quality of the story. But I cannot fathom any way a writer could capture this film with words. It is very visual, but could not be painted or drawn either. I think this is one of the few films I've seen that is completely unique to the medium of film. Towards the end of the film, there is a scene where she is trying to avoid voices and images around her while hosting a party. It was at this point that I realized how perfectly every shot was set-up, and that there would be no way anyone could capture the feeling or the images with words.

    I would be extremely fascinated to see what the shooting script to this film looked like. It's the fifth Fellini film I've seen, and I must say, I think I can call him my favorite director. He's the only director whom I've been enthralled by every single film I've seen of his. He has a perfect record, 1.000% batting average so far with me. I'm going to keep seeing more, and hopefully I won't ever be disappointed.
    loganx-2

    8 1/2 In Drag

    Really sort of the female counter part to 8 1/2, It had the same sort of dream/memory/fantasy narrative, and the same sprawling dialogue and humor, the biggest difference was this was about relationships and sexual repression and freedom, had a female lead and was in technicolor, which Fellini really makes great use of, it adds a kelidoscopic psychedelic feel to the whole movie. There really are some amazing visuals and all the dialoge is superb. Though I guess its not so much a female 8 1/2 as it is a caricature of a marriage during the sexual revolution , but it's still a funny and poignant one. Great performances and memory dialog; the sexual revolution as a circus.

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    Histoire

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    Le saviez-vous

    Modifier
    • Anecdotes
      Director Federico Fellini claimed he took LSD in preparation for making this film.
    • Citations

      Giulietta Boldrini: I don't care about the clemency you offer me but the salvation of my soul.

    • Connexions
      Edited into Fellini in città ovvero Frammenti di una conversazione su Federico Fellini (1968)

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    FAQ22

    • How long is Juliet of the Spirits?Alimenté par Alexa
    • What is 'Juliet of the Spirits' about?
    • Is 'Juliet of the Spirits' based on a book?
    • How does the movie end?

    Détails

    Modifier
    • Date de sortie
      • 22 octobre 1965 (France)
    • Pays d’origine
      • Italie
      • France
    • Langues
      • Italien
      • Français
      • Espagnol
      • Anglais
    • Aussi connu sous le nom de
      • Juliet of the Spirits
    • Lieux de tournage
      • Cinecittà Studios, Cinecittà, Rome, Lazio, Italie(Studio)
    • Sociétés de production
      • Rizzoli Film
      • Francoriz Production
      • Cibematografica Federiz
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

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    • Montant brut mondial
      • 8 734 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 17 minutes
    • Mixage
      • Mono
    • Rapport de forme
      • 1.85 : 1

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