La dolce vita

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.

LA DOLCE VITA presents a series of incidents in the life of Roman tabloid reporter Marcello Rubini (Marcello Mastroianni)--and although each incident is very different in content they create a portrait of an intelligent but superficial man who is gradually consumed by "the sweet life" of wealth, celebrity, and self-indulgence he reports on and which he has come to crave.

Although the film seems to be making a negative statement about self-indulgence that leads to self-loathing, Fellini also gives the viewer plenty of room to act as interpreter, and he cleverly plays one theme against its antithesis throughout the film. (The suffocation of monogamy vs. the meaninglessness of promiscuity and sincere religious belief vs. manipulative hypocrisy are but two of the most obvious juxtapositions.) But Fellini's most remarkable effect here is his ability to keep us interested in the largely unsympathetic characters LA DOLCE VITA presents: a few are naive to the point of stupidity; most are vapid; the majority (including the leads) are unspeakably shallow--and yet they still hold our interest over the course of this three hour film.

The cast is superior, with Marcello Mastroianni's personal charm particularly powerful. As usual with Fellini, there is a lot to look at on the screen: although he hasn't dropped into the wild surrealism for which he was sometimes known, there are quite a few surrealistic flourishes and visual ironies aplenty--the latter most often supplied by the hordes of photographers that scuttle after the leading characters much like cockroaches in search of crumbs. For many years available to the home market in pan-and-scan only, the film is now in a letterbox release that makes it all the more effective. Strongly recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

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.

Long, episodic film by Federico Fellini about the conceits and facades of life: fame, intellect, sex, friendship, despair, innocence, etc.

Marcello Mastroianni is perfect as the shallow tabloid reporter who joyfully follows around Rome a blonde movie star from Sweden (Anita Ekberg) as she prowls around the city's bars and bistros. He is also having an affair with a woman (Anouk Aimee) while his girl friend (Yvonne Furnaux) seems to be going nuts.

But as Marcello moves through the city following the movie star, the miracle of the virgin, a few parties, etc. we see that his life is very empty because the things he reports on are meaningless drivel. We see that fame and fortune and the trappings of success are meaningless.

Marcello starts to realize that the movie star is a vapid airhead, the miracles are a sham, and his friend's (who seemed quite happily married) ghastly murder and suicide show the futility of life itself.

The Fellini themes are common to many of his films, but what makes La Dolce Vita so memorable are the cynical tone, the Nina Rota music, and the string of terrific visual images.

The opening scene is of a helicopter hauling a gilded plaster statue through the air across Rome. The flying saint is a bizarre image but serves to set up the movies which is all about images and events that are never what they seem to be.

Notable are the scenes of statuesque Ekberg in that terrific strapless black dress with the voluminous skirts as she swishes around dancing and eventually wading through a city fountain. The party scenes are also notable. The first because of the intolerable intellectuals who sits around and talk and talk but never do anything. The last party has the indelible image of Mastroianni "riding" a drunken blonde woman as though she were a horse. The final image of the giant dead fish is quite unsettling as it symbolizes their bloated lives.

Fellini is brilliant in filling scenes with odd people as extras, usually hideously dressed or wearing ugly glasses. The "gallery" of people who inhabit the city is one of grotesques, vapid fashion slaves, the rich, hangers on, etc.

A long film, but highly recommended and very memorable.

This is one of those films where I just don't want it to end as I enjoyed it so much. So many memorable and humorous scenes - Fellini successfully captured the atmosphere of picturesque Rome lifestyle. All of the characters are interesting, complex and I especially loved Anita Ekberg's performance! Amazing!