La strada

La Strada brings two souls together to tell a story that ultimately displays humanity's finer aspects. The title gives a clue to the meaning of Fellini's masterpiece: The Way. The brute, Zampano, buys the urchin-like Gelsomina to be his traveling companion in his one-man carnival act. He is physically and emotionally cruel to her. Her longing to love and be loved, and her child-like, yet acute perception of life, and desire to live it, despite hardships, makes her the perfect complement to the selfish and despicable Zampano. Their unification affects each other. However, although Zampano's harshness adversely effects Gelsomina's life, it is her influence that will eventually, and more significantly, change him. This may sound like the familiar Beauty and the Beast fairy tale, but it is more than a love story. It is about love, but it isn't until the very end of the film that we realize it. More than love, it is about a man who gains insight and awareness because of love. It is his finale transformation that demonstrates both the frailty and vitality of the human condition. It overpoweringly suggests that the individual, no matter how depraved, is able to spiritually evolve.

Every frame and scene in this masterpiece has purpose and meaning.

Anthony Quinn who was Cecil B de Mille's son in law told the story of showing La Strada to his father in law. It seems that De Mille couldn't take it. He asked for the projection to be interrupted in more than one occasion. He was disturbed, confused. Maybe it was the simplicity, the total lack of artifice. Let's remember Fellini shot it in the immediate post-war Italy with no means whatsoever and here it was, a masterpiece changing the world of cinema pushing us to a reality that was as pungent as it was poetic. The heartbreaking story of Gelsomina - an extraordinary Giulietta Masina - and Zampano - a spectacular prime Anthony Quinn who plays his humanoid with shattering truth - went to become a global sensation and an Oscar winner. Apparently, after the film was over, Cecil B de Mille got up and left the room without saying a word.

Often it is hard to find a romance which does not include actual romance - i.e. - liplock, hugging scenes. The viewer is overflowed with emotion because the film itself focuses on human emotion, and is a pure amusement to watch because of the many symbols. When Zampano tries to steal a silver heart from the church and Gelsomina pleads with him not to, we can only think of the cold silver heart, his sad action of trying to "steal" such an emotion as "love", Gelsomina's soft nature - this film overflows with such subtleties, but such subtleties! so impactful in conveying emotion..

Gelsomina's faith to Zampano is heartwrenching - she is presented with opportunities to leave Zampano, such as leaving to the nunnery or joining the circus, but she declines all. This fidelity builds up, only to have.. well, let's just say that Fellini is especially skillful in drawing your sympathy and then channeling for it in a single scene.. he knows how to focus and concentrate your emotion, I felt sort of violated after watching the film, since I rarely cry for movies! Also, if the symbolism does not stir a reader to interest, the amazing cinematography will. The tightrope act atop the city buildings, the motorbike rides, the Christ ceremony-

This movie is unpredictable and is interesting to watch, since it keeps the mind afloat with the different scenes which are packed with symbols and metaphors, wonderful puzzles to decipher. Since Fellini does not present it straight-forwardly, and rather wraps meaning in several layers of symbols, uncovering the truth becomes fulfilling for the viewer.

The way Fellini develops his characters is unforgettable. We feel their demise, but urge to see and understand more. I feel only Fellini can accomplish such a remarkable quality. And in case you didn't get the gist of my rating (and my ranting).. 4 stars. Please rent this and enjoy, Fellini's incredible! :o)

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.

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.