PeetaFr0d0

"I Vitelloni" is the first broadly known film Federico Fellini directed, and even though it didn't receive the critical acclaim it deserved upon its initial release, it's definitely one of his bests. It is a character-driven story and a character study on five young men, who are at crucial moments in their lives, which are explored through the narration. The storm in the beginning signifies the identity crisis the main characters will go through and the ups-and-downs of life that will be faced with. Moraldo's line: "It's beautiful outside, like the end of the world.", foreshadows these events. Voice-over is (luckily) not overused, and there are parts that offer necessary comic relief, as the carnival sequence and the meeting with the well-known actor after his performance. Franco Fabrizi is probably the most remarkable and layered character of this film, as he undergoes many changes and evolves over the course of the movie, and our attitude towards him changes along with his character. Leonora Ruffo is also outstanding as Fausto's love interest, and her performance is not contrived, to the contrary, it's natural and relatable, as a woman who doesn't feel assured with the man she loves. Moraldo seems as the most normal and moral from the company, which is rational, as he is the youngest. Leopoldo is my personal favourite, as the unappreciated artist who persists to gain recognition and finally be visible, with the conversation between him and Sergio on the way to sea being the deepest and most emotional scene in this motion picture. Riccardo's character sadly isn't given any depth, something that is maybe the only flaw of this picture, which is obviously a creation of a younger and inexperienced filmmaker, hence it lacks the maturity and realism of his subsequent works, as "La strada". The music score by Nino Rota is great as always, the cinematography by Otello Martelli is more lush and includes more eye candy than his work in "La strada", matching the mood of this older film that alternates between lighthearted and gloomy. It's a surprisingly delightful movie, which is definitely thought-provoking and makes us wonder about our choices and general disposition through challenges of life. These five men might always be "I vitelloni" (which means the bullocks literally), but the audience still has a chance, as I see it. "He who cares not for art, cares not for life", utters Majeroni's Sergio during the chat with Leopoldo, making a call not only to Moraldo, but to the viewers as well. The somewhat abrupt conclusion might be a bit repellent to those who aren't accustomed to such endings, but I don't think it detracts from the total experience. This is recommended to every lover of Italian cinema, but also to everyone who wants to watch a high-quality, fun film with a takeaway to activate their thoughts later.

This Spanish drama about a wealthy socialite and her husband, whose marriage goes through a crisis, seemingly triggered by the 1982 economic crisis, has much eye candy and nice cinematography, as well as costumes and makeup, not to mention production design. There are also decent performances from the main cast, mainly Ilsa Salas, Flavio Medina and Paulina Gaitan. Arc shot is used in excess sometimes, flamenco soundtrack (mostly clapping) is used in harmony with the emotional intensity of certain scenes, in the absence of other music score. The film becomes a bit slow at times, but this is not necessarily bad, because it allows the audience to have some rest between the more dramatic moments, even though it may bore the ones who want fast-paced entertainment. There is a message about the pretentious rich, who are filled with arrogance and often look down on others with a lower income, or people who join the "rich people's club", supposedly only because of money and not because they love truly someone. But in general it's an average movie, which talks about a problem, sadly without offering any solutions, it's good, though. The closing scene is really redemptive, showing a comeuppance that's certainly insufficient but serves as a way to administer justice (and it offers comic relief, too!), even if it doesn't seem very powerful. It's recommended to the ones who would like to watch a movie to pass the time and think a little about something.

"La strada" is the breakout success of Fellini, and for good reason. Giulietta Masina is outstanding as the simple-minded, loyal Gelsomina, who stays with Zampanò at all costs. Anthony Quinn also stands out as the crude and unfriendly Zampanò, who mistreats the naïve and cheerful Gelsomina. Richard Basehart is remarkable as well in his portrayal of the carefree, though realist "Il matto", who has a conversation with Gelsomina, in what I consider the most profound scene in this film, which drives her to make a decision that is crucial for the process of the plot. This motion picture carries a message about how everything (and everyone) in this world serves a purpose, therefore nothing and nobody is useless, otherwise everything would be so. The music score by Nino Rota seems to complete this movie, and blended in with Otello Martelli's majestic cinematography elevate this one to the pantheon of the greatest (and most influential) Italian films of all time. The storyline about the young woman who was sold from her mother to a travelling showman is true-to-life and certainly fit with the postwar Italian neorealism, and Gelsomina's firm, borderline self-destructive devotion to her abuser is heart-wrenching, and is surely food for thought (one could say it's an element of a cautionary story) for every viewer, even though this film is hardly a cautionary tale. It's rather a gentle, yet harrowing look at the loss of innocence and the choices everyone of us is called to make (or the paths he could take). It also showcases how maltreatment and indifference can make people feel that are unworthy of love, respectful behavior or a happier life. Giulietta Masina's Gelsomina may remind the audience at some points of Amelie (meaning she strikes us as a neurodivergent person, as Amelie does), the main character of the titular film. The actress's attitude and expressions are also reminiscent of Charlie Chaplin (especially when she puts on the comedic make-up). It's definitely one of the movies that stay with you, particularly with the heartbreaking ending (which is fit for this movie). It's recommended to all of you who would like to watch one of the all-time great international films, and it's a great starter for Fellini's work (and without a doubt will make you want to watch more from the great director). To me, it might be the movie that paved the way for "8 ½", "La dolce Vita" and other masterpieces from the director.