A Voz da Lua

It is a pity that Fellini's last film is not better known as it represents something of a return to form after a series of disappointments. .Fellini's visual imagination is still intact but some of the wonderful precision of imagery is no longer present. Perhaps by the end of his career too many of his old collaborators had died or retired. The best part is the first half hour seen entirely from the perspective of the insane central characters. Their obsession with the moon provides the alibi for many evocative night shots, (I've often thought that one thing that distinguishes great film makers is how they film the night), as well as the spectacular climactic sequence when they imagine that they have trapped the moon. Elsewhere there is typical Fellini fun with the crowning of 'Miss Flower' complete with an outsize King and Queen of the Gnocci and a final shower of flower on all the contestants. 'La voce della Luna' shares much of 'Ginger and Fred's' distaste for the contemporary world summed up in a sequence in which a disco rave is interrupted by a Strauss waltz. This is far more poetic and unexpected than anything in the predictable 'Ginger and Fred'. Those worried by the narrative incoherence of Fellini can bury their boring heads in a screen writing manual. Perhaps the current international popularity of Roberto Benigni, little known outside Italy when the fim was made may yet allow this flawed but haunting film to gain the audience it deserves.

Is La Voce Della Luna one of Fellini's very best? Not for me, I consider the likes of Nights of Cabiria, La Dolce Vita, 8 1/2 and Amarcord better movies. But it is one of his most underrated movies. Some of the structure is a little dislocated, but even with that there is still much to like. Watching the visuals it is like visual lyric poetry, every frame is beautifully shot and the scenery is really stunning. The music is beautiful as well and Fellini's direction is superb with his themes of women and religious superstition on display and conveyed interestingly and intelligently. There is definitely his unique style, not just in the basic feel of the film but also in its themes. La Voce Della Luna is mostly very moving and haunting in feel as well. The acting is great, Roberto Benigni gives one of his most humanistic and understated performances and it is just wonderful and very natural, while Paolo Villaggio contrasts superbly with him. Overall, deserves to be better known as it is a very good movie. Not classic Fellini but should be more well known as just his last film. 8/10 Bethany Cox

An astounding movie that left me behind with a smile on the face. Its ending reminded me of the annoying feeling when having woken up after a beautiful dream.

In fact, the movie has something of a dreamland, where almost everything seems possible and space and time have lost their limitations. In Salvini, plaid by Roberto Benigni, it is presenting a modern fool as its very likeable main protagonist, who on his ways around a small Italian town meets all kind of weird characters and hears voices from the ground of the wells. The movie could also be described as a modern fairy tale that in some parts becomes quite reflective when disclosing some absurdities of modern life. When seeing those it becomes in a way comprehensible that Gonella, the 2nd main protagonist, has developed a certain paranoia and believes in a big world conspiracy.

It is also true that the movie does not have a lot of thrill because it is lacking a real story line. This fact, however, kept alive my curiosity because it remains unclear throughout the movie where the film is heading at and what strange things are next to happen. This concept does not necessarily work out but grandmaster Fellini succeeds one more time in presenting us a stream of lively and fascinating images. Some typical Fellini ingredients like madonna statues and fairgrounds are part of them one more time.

Overall, a film like a poem, that certainly is not everyone's cup of tea.

The bitterness is the basic trait of this last Fellini. You discover all what you know or define as Felliniesque. You admire Roberto Begnini , being more prepared to remind scenes from his last Pinocchios. You feel pity and admiration about characters. And you feel the fall of a world, suggested, in so precise manner, by entire atmosphere defining a simple - baroque good bye. A film only reminding themes, characters, idiosincrasies. And the bitterness as basic virtue.

This is a sad swan song from the director. In many ways. It is a rambling affair, too wordy and shot as if on sound stage with harsh and uncompromising light. Yet there is something about the (oh so Italian!) characters that come and go we imagine, throughout the overlong running time, that the whole will spark into life. It doesn't but what is so sad is that there are, now and again, moments that jump out as trademark Felliniesque visions. Flimsy white lace costumes revolve in unison, a beauty contest promises to burst forth, a group of unfortunates gather to catch a glimpse of 'pussy' as a neighbour undresses and finally a tethered moon brought to Earth. But overall and despite treasurable seconds this stands as a rather forlorn and unconsummated endeavour. A sad farewell indeed.