La dolce vita

(first of all, sorry my poor english) Who, in this entire world, drunk as a horse in the middle of the night, never discovered the meaning of life, that it can be so easy and joyfull that hurts. This happens with a certain frequency. The big problem is, after all that, to face all the thoughts and conclusions in a sober monday morning, when everything is just real, concious and above all that sincere. This is the the big question and problem of Marcello Rubini, a reporter of a gossip magazines who has to deal with the fact that he tastes the same poison he spreads by leaving in a group of people which he sucks his living.

In a moment he is directing his papparazzi and, in the next, he is running away from them. He flows between all kinds of social circles and the only impression he gives is that it doesnt matter what kind of craziness you are getting into everything is a big cliché. From the mainstream world of a gorgeous actress who feels able to express opinions about everything (and we buy it), passing throught the religious world of the faith, and also an intellectual circle that gives a fake impression of freedom, everything turns out to be an escape. That blonde girl appears as a stroke of pureness and sincereness, something we should really look for, but we just dont. In the case of Marcello's life, writing is the solutions he always substitute for vain experiences. Something he likes and that he needs a young girl to tell him that. That litlle cute girl is a person Marcello would like to be, someone who faces the soberty of a monday morning with hopeness and happiness.

A masterpiece.

I first saw this movie probably over 25 years ago when I was quite a bit younger. At that point I enjoyed it for its party scenes, sense of joy and life and vitality and....Marcello Mastroianni. Now that I'm older myself and have just recently seen the movie again, I find that I have a much deeper understanding of it. Maybe it takes some age to find some meaning. In a nutshell, Marcello is at a crossroads in his life, he's unable to settle down or move foreward into any direction - he's a diletante with aspirations but no real goals. He's wrapped up in himself and in projecting rather dreamy ideals onto other people. But as he keeps projecting on to others he comes to find in each situation that he doesn't really know the person and they are a mystery and probably a disappointment to him. certainly steiner is the biggest disappointment and disillusions him to a degree that he is apparently lost to a life of corruption and decadence as a result. but it's not that these people are difficult to understand to someone other than marcello - i think we can see that anita ekberg's character really is just a big good-natured blond and not the mysterious goddess marcello makes her out to be; his father is again - the typical traveling salesman and perhaps not the paternal figure that marcello would like him to be. his amour maddelena lives up to her name even as marcello starts believing himself in love with her - he's literally seduced by nothing more than an image he creates in his own mind. his friend steiner seems to have it all to marcello and to be the renaissance man that he would like to be - but, of course, he is dissatisfied and disturbed and we see what the end is. the only one whom marcello forms a somewhat realistic connection with is his girlfriend whom he treats badly and neglects despite her obvious love for him. he refuses to actually work on the one relationship that he could actually succeed at - he would rather dream about possibilities than actualize something.

marcello cannot communicate with others because he cannot see them as the people they really are - he just sees them as projections of his own needs, aspirations, desires and goals. when he finds out what they're really like, he either turns away or falls apart. this is an outstanding movie - 10 out of 10 and beautifully photographed. if you don't get it now, try again in 10 years - it will wait for you to catch up.

Mostly because of the terrific high contrast, B&W visuals, and the evocative music, this is the only Fellini film I have seen that I have somewhat enjoyed. I recommend it, but not without reservations. It's a complex film with many textured layers of meaning. And, in typical Fellini fashion, it rambles and it meanders.

Deviating from standard three-Act structure, Fellini's story consists of roughly eight episodes, all starting at night and ending at dawn, more or less. Each has its own crisis. And the only thing that unites these episodes into a coherent whole is the story's protagonist, Marcello (Marcello Mastroianni). In his job as a journalist and overall observer of human nature, Marcello encounters people in high society who seem outwardly happy and self-fulfilled. On closer examination, however, these people are empty, hollow, alienated, emotionally adrift and vacant.

A good example is the starlet Sylvia (Anita Ekberg), a glamorous figure, but she's all image and no substance. "La dolce vita" is the first film that uses the concept of "paparazzi", which implies the importance of "image", separate from substance.

Throughout the various episodes Marcello sees these "images" of happiness, of contentment, but the images are deceptive, elusive, unreliable. In one episode, two "miracle" children "see" the Madonna. "The Madonna is over there", shouts one child. The crowd chases after her. But the other child who "sees" the Madonna runs in the opposite direction. Happiness, self-fulfillment, religious visions ... they're all a will-o'-the-wisp. And so, the film conveys a sense of pessimism and cynicism.

The film thus has deep thematic value. It caused a scandal when it was released, and was banned by the Catholic Church, apparently for appearing to be anti-religious.

Yet for all its deep meaning, "La dolce vita" can be a trial to sit through. Somewhere in the second half I began to lose interest. I don't have a problem with Fellini's deviation from standard plot structure. I do have a problem with a director who doesn't know when to quit. This film goes on for almost three hours. A good edit, to delete all the fat, would have tightened up the story and rendered it more potent. As is, it's too strung out, too stretched, too meandering.

If the viewer can persevere, there's enormous cinematic art in this film. And helped along by Nino Rota's music, the film is wonderfully evocative, at times stylishly melancholy.

Returning to this film after many years, I was mesmerized for its entire three hours and could have stuck with it for even longer. More than just a parade of degenerate Sixties Eurotrash, all of human life is captured in these frames, from prostitutes living in flooded slum apartments to glittering nobility in their crumbling castles.

The common thread is the thoroughly captivating Marcello Mastroianni as the gossip columnist/aspiring novelist, later turned burned-out publicist. His relationship with the parade of females who inhabit his world, often fleetingly, is nuanced and authentic feeling, while the episode with his father, who shows up for an unexpected visit, is a delight that brought a wide smile to my face.

The unique, episodic structure of the film feels neither showy nor forced, and the film moves through its segments with the natural grace of a great symphony.

An added bonus for me was seeing a young Nico of Velvet Underground fame , looking relaxed and happy. Would that things always turned out that way for her.

In sum, a totally unique tour de force and, unquestionably, one of the greatest achievements in cinematic history.

In many ways, this has to be regarded as the defining film of its era. It presaged a new style of cinema. It had a fluid, dreamy, symbolic visual and narrative form, and its resonance stems from its visual set pieces and overall ambience. It is also a fascinating exploration of the lifestyles and attitudes of an incipient, flash, indulgent and directionless generation.

The film is mainly remembered for the iconic scene of Anita Ekberg ebulliently splashing her way into the centre of the Trevi Fountain, followed by an adoring Marcello Mastroianni. The scene is emblematic of the film in the sense that it represents characters who wish to break free from the constraints of previous generations but their efforts, while perhaps on the surface appearing daring and romantic, often lead to nowhere. There's a sense of searching but not finding: breaking free of one set of constraints only in order to meet another. Marcello, the film's protagonist and perhaps a representation of the director himself, wants to be free of his wife and he doesn't want to sell himself to the capitalist system, but what else is there to provide meaning to his life? He is failing as an artist and his romantic conquests seem empty and unfulfilling. He yearns for a time when life was more clearly defined and yet he loathes the responsibility and entrapment that that definition would impose. And so he drifts from party to party, a little less energetic, a little more cynical on each occasion.

La Dolce Vita shows us the new hedonism and society's burgeoning obsession with celebrity. It is responsible for the word "paparazzi", which came from the name of one of the supporting characters, and it features a very young Nico, who would go on to achieve fame with one of the defining bands of the '60s. The film is a bold and brilliant exploration of life as it was lived by the upper-classes and the emerging chattering classes of the time. It's an enthralling experience which is both sweet and sombre.