Le sheik blanc

Likable early Fellini told in a sprightly farcical vein, with good-natured jabs against hypocritical family honour, marital disharmony and the hokeyness of pulp kitsch.

The situations are a tad too low-key to work as premium farce, but the humanity and naturalness that are invested in the story and the characters, despite all tendencies to rely on stereotypes, render this pic highly watchable, if not as memorable as later films made by the master director.

And in an age when satire is often equated with a misanthropic attitude it's nice to witness a more empathic way to get one's knuckles rapped.

7 out of 10 pitying prostitutes

A classic Fellini comedy, with all the atmosphere of a carnival that fans expect. Brunella Bovo is lovely, naive, well-meaning, but lead astray by a philandering playboy. Meanwhile, her new husband seems doomed to appear utterly insane to his family who has come to Rome to meet his blushing bride--suddenly disappeared. Charming, funny, what's not to love? Oh, and Guilietta Masina arrives in her role as the kind and sensual Cabiria--icing on the cake! While certainly not the greatest Fellini film on record, it makes for pleasant viewing. Yes, the behavior of the characters is hardly exemplary, but then, would that be entertaining?

When most people think of Fellini, they think of his films La Strada or La Dolce Vita and 8 1/2, but the director's vast catalogue of films is worth checking out just to see a genius at work. Fellini's early and little known film, The White Sheik proves to be a cinematic gem that not only hints at the director Fellini would become, but also stands on its own as an achievement.

Part soap opera (read Mexican soaps) and part romantic comedy, The White Sheik leans towards surrealism and comic book camp (over 30 years before Kevin Smith created DOGMA). The premise of the story is that two newly weds, Vanda Giardino (Bruenella Boro) and her husband Ivan Cavelli (Leopoldo Trieste) honeymoon in Rome where Ivan hopes to make a good impression of his relations. Unfortunately for him, his wife sneaks out of the hotel room so that she can meet her comic book hero, The White Sheik (Alberto Sordi.

Shot in black and white, this film is gorgeous and surreal. The actors on the set of The White Sheik come across as gypsy or circus like. They sport tough attitudes and this makes a nice contrast to Vanda's wide-eyed innocence.

The White Sheik is technically Fellini's second film, but the first one in which he did not share directing credits. However, he did share writing credits with Michelangelo Antonioni, Ennio Flaiano and Tullio Pinelli. If you are a fan of La Strada and Nights of Cabiria then you must see this film.

This was the first film Fellini directed on his own and it was among his best but most under-appreciated films. While it does not have the usual "Fellini look" (with odd looking supporting characters, unusual stories or unique style), the film is a definite winner--featuring a very cute story and some winning performances. Plus, like most of Fellini's films, the plot is pretty weird--and that I truly appreciate.

A young man and woman are married and come to Rome for their honeymoon. The very organized husband seems to have planned every last detail of the trip--scheduling almost every second of every day and allowing them no time alone or to even consummate their marriage. Instead of trying to get this seemingly inflexible man to bend, the young bride hopes to just slip away from the hotel VERY briefly to go meet her idol, the "White Sheik". Unbeknownst to the hubby, she is an avid reader of an adventure magazine that feature this fictional character--complete with photos and stories about his larger than life adventures and romance. And, she'd been writing him for some time and her only real desire in Rome was to spend just a brief moment with him. However, when she arrives at the office that publishes the magazine, the actor portraying him in the stories isn't there. But, the folks see she's a real fan and want to help her, so they tell her to get in the truck and go with the camera crew to the shoot. She only has a moment, but agrees--after all, he is her idol.

Well, one thing after another goes wrong and her brief excursion lasts more than a day! In the meantime, the new husband is panic-stricken but doesn't want to tell his uncle or his family--he's too embarrassed to tell them he's misplaced his wife! And, for the next day or so, he makes one excuse after another to explain why she isn't there to go on their fully packed itinerary! The story is very cute and charming,...plus it provides a few laughs. In many ways, it reminds me of the later film THE PURPLE ROSE OF CAIRO (where Mia Farrow is a devoted fan of a movie serial star and sees the same film again and again), but it is both more charming and ultimately has a better and more upbeat ending.

PS--I know this may make me sound like I am not "with it", but I really do prefer most of Fellini's earlier films and hate the "über strange" films from later in his career (such as SATYRICON). This is a wonderful film that is sure to please everyone--even those who don't think they like the films of Fellini.

Quite an interesting comedy with ideas about fantasy versus reality, a wonderful Nino Rota score, and great work by Bovo, an actress who can capture some great expressions on her face: realistically big-eyed, naïve and innocent, as is required for her character. The film does however suffer from unevenness, trying to balance two styles of comedy - light-hearted semi fantasy and silly slapstick. By themselves either style works fine, but when joined together, it becomes a little messy. The film is not really helped by excessively silly supporting characters, and Trieste feels very over-the-top at times. Still, the aforementioned virtues, and interesting camera-work with an extensive range of different angles, are enough to keep this film afloat. Definitely recommended, even if not perfect.