Music, sex and love of life
No Dolce Vita It is a fantastic film and an unforgettable chapter in European cultural history that shows everything we miss in today’s puritanical cinema. Now it is listed again.
“The stupidity of others fascinates me, but I prefer my own.”
– Ennio Flaiano, film critic, screenwriter, co-author of “La dolce vita”
At first, a gigantic statue of Christ hovers over Rome to the unforgettable music of Nino Rota – suspended from a helicopter. Spirituality and technology, these two elements and their combination, myth and modernity, realism and romance, characterize this film.
Reporter Marcello Rubini (Marcello Mastroianni) and his constant companion, the photographer-ready-to-photographers, who gave their names to the paparazzi, follow the second helicopter in order to give a flashy report on the relocation of the Flying Christ. But suddenly, the journey is interrupted: the crew discovers some bikini beauty in a swimming pool below them.
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No Dolce Vita By Federico Fellini is a classic movie of world cinema.
This film is what was called “The Picture of Morality” when it was made in 1959: the blunt, glowing, episodic picture of a society becoming mainstream. With lots of music, sex, love of life, taboo-breaking, modern morals and optimism for the future. In other words, all that we lack today in contemporary puritan cinema.
Director Federico Fellini presents the very world in which he himself spent the first fifteen years after World War II, as screenwriters Rossellini and de Sica, on the edge of Cinecitta’s “Hollywood on the Tiber”, as a “young” neorealist so called reinventing European cinema. : the world of stars and stars, artists and intellectuals, and newcomers from other countries, for whom Italy was the source of young people to earn their fortunes after all.
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Fellini also shows the decadent features of the post-war period: the socialites, a parasitic class that appeared only in those early post-war years, the rich and their vassals, pseudo-artists, the night owl, the scandalous press.
They all move around Rome’s Via Veneto for about three hours. At the center is an enigmatic figure who looks almost like a minor character, a gossip columnist who continues to suck the lives of others and tirelessly pursues the somewhat hollow sensations of the day, while being inner lukewarm and exhausted, and who does so precisely through his passivity makes everyone open to him: Marcello Mastroianni plays – First time with Fellini – this charming boy who, only on the surface, is absolutely undeniable.
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One of the many tales that run throughout the film is the story of the Virgin, who is said to have appeared to two poor children. The place instantly becomes a place of pilgrimage and a dreadful fake religious pandemonium created by a few poor people who, out of greed for money, deceive their children into lying that they have religious visions. Fellini mixes the depiction of religious delusion with a sharp analysis of the power of the masses to manipulate.
Appearing 86 actors and amateurs in twelve episodes. Fellini once again staged the events familiar to readers of magazines and dailies worth millions: the cha-cha-cha barefoot Anita Ekberg, the slapping scene on the Roman walkway Via Veneto, is
Finally, it is also about the idyllic life of a thinker named Steiner, similar to Cesar Pavese, who suddenly kills himself out of nowhere for no apparent reason.
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as such No Dolce Vita When he appeared in Italy, he caused the fiercest scandals, the Vatican demanded a ban and when this did not happen, he banned good Catholics from going to the cinema.
A major film from the 1950s and a classic of Italian cinema. The film is the biggest success of Fellini’s career – he won 1960 No Dolce Vita The Palme d’Or in Cannes. The head of the jury was the writer George Simenon, with whom Fellini soon became a close friend, and another member of the jury was Henry Miller.
At the same time, the film marks the transition of cinema from post-war neorealism to something else. No Dolce Vita So different from this kitsch about the power of simple hearts and unconditional love, that Fellini, who studied law, celebrated with his wife Giulietta Massina in the films La Strada and The Nights of Cabiria. But the palm tree triumph was followed by that deadlocked self-doubt which Fellini then described in 8½ in a highly knowledgeable post-structuralist style, but never overpowered, instead suffocating in fat, hideous, figurative orgy.
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Fellini was never like this again. It will never be good again. No Dolce Vita It was so successful worldwide because it was sarcasm, sarcastic, and affectionate at the same time, driven by a mixture of lust for anecdotes, keen observation, cynical calm and sparkling lust for the present and the present, just as it characterizes what goes on in the productions of the gossip journalists portrayed by Flynn here.
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With this role, Marcello Mastroianni became an international star overnight. As well as Anouk Eimee as the heiress rich bored Maddalena.
He also plays a young supporter named Adriano Celentano, as German model Nico, who later becomes the unforgettable lead singer of “Velvet Underground”.
Tarzan and later Old Shatterhand Lex Barker play here: an American actor who hasn’t hit much of a hit.
And of course Anita Ekberg. The recordings of this iconic scene with former Miss Malmo at the Fontana di Trevi Fountain alone took nine days. The Ekberg bath is almost a mythical symbol: Diana in the bath, the nymph emerging from the water, and Botticelli’s famous painting “The Birth of Venus” merge into a metaphor for unabashed indulgence in the circa 1960 years.
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There are side-looks and side-kicks in everything: in the sandal movies just shot in Cinecitta on the outskirts of Rome, in New Italian literature, in Moravia, Morante, Ginsburg and Pasolini.
Time and time again, Fellini has mixed fact and fiction here: real press conferences with real Romans and real-life journalists with his characters. Guests of the Steiner Sorrowful Writer’s Salon were famous faces of the capital’s art and literary scene.
Last but not least, it is above all No Dolce Vita The Great Rome Movie – Possibly the greatest movie ever made. Life in Via Veneto, writers and directors sitting in a café, dimonds, Americans having fun in Rome and behaving like old conquistadors, are all a timeless chapter of Italian and European cultural history.
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Marcelo could be the character of Alberto Moravia, who, like many others, has a short stay here, “unemployed” and “indifferent” leaving for Rome to become a serious writer. But in the meantime, his fantasies and ambitions have long been buried, he keeps his head above water as a gossip correspondent and reports on the current events and excesses of Roman high society. More and more attracted to this scene. He escorts self-proclaimed actresses and stars, and experiences the nighttime freak behaviors of a Hollywood blonde in the Trevi Fountain.
At last, after a night of wild partying, he stands with the junkyard company on the beach in Ostia, aloof as he sees through everything, but still belongs to the group.
It is pretty much the exact place in Ostia where Pasolini will be assassinated 15 years later. A fisherman pulls a giant octopus ashore. sea monster.
And the girl Paola, whom he had previously met in a beach bar, calls out a few sentences for Marcello, but is lost in the sound of the sea: the young scandalous reporter does not understand the cryptic signs of hope that she embodies. Instead, all he sees around him is a world of emptiness, meaninglessness, pleasure-seeking, shallowness, vanity, and stupidity.
The last image is of the boys’ look at him, of the hope and future that Paula embodied.