La dolce vita
Excerpt from the book 'Federico Fellini. The Complete Films', by Chris Wiegand
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Fellini's films of redemption reflect the director's profound debt to, and subsequent rejection of, neorealism. In the decade that followed he turned from objective observer to introspective dreamer. His films became increasingly personal in subject matter and extravagant in style. In 1956 he was a master director: within a few years he was an international superstar.
After the release of The Nights of Cabiria, Fellini wrote Fortunella (1958), a screenplay, for the director Eduardo De Filippo, and considered directing either an adaptation of Casanova's Memoirs or Moraldo in the City. He rejected both but Moraldo was the inspiration for the character of Marcello in La dolce vita (1960), which was co-written with Pinelli, Flaiano and Brunello Rondi. A masterly depiction of the kind of decadence and sin found more commonly in the films of Cecil B. DeMille, La dolce vita tells the satirical story of a young man who arrives in Rome from the provinces to follow a career in journalism. Principal photography on the picture, which was shot in Totalscope, lasted for over five months. At the end of the shoot Fellini was left with 56 hours of film. A feature just under three hours long was released in February 1960. The film secured Fellini's reputation as an auteur of the highest order.
In Il bidone and The Nights of Cabiria, Fellini depicted the individual's quest for rebirth. With this new film, he looks at society's collective need for such regeneration. In its stupendous opening scene, a helicopter dangles a statue of Christ, arms raised, overlooking the city below him. Set over seven days and nights, the film follows cynical and world-weary gossip journalist Marcello Rubini (Marcello Mastroianni) on a rake's progress through Rome. To snare the best scoops, Marcello spends his time prying among the various cafés and bars on Rome's via Veneto, a high-profile road cluttered with the city's aspiring glitterati. Bored of his profession, and harbouring the desire to become a serious writer, Marcello seeks solace in casual sexual encounters. His first conquest is Maddalena (Anouk Aimée), who he meets in a nightclub and beds in a prostitute's apartment.
For Marcello, juggling sexual relationships is more difficult than his day job. He returns home to find his scorned mistress suffering from the after-effects of a botched suicide attempt. After he dumps her at the local hospital, Marcello eyes dazzling blonde actress Sylvia (Anita Ekberg). After attending a press conference with the bombshell he escorts her through Rome. The evening results in a kiss in the Trevi Fountain and a punch-up with Sylvia's fiancé at her hotel. Further excursions follow.
Page [1] [2] [3]
Page [1] [2] [3]
Fellini's films of redemption reflect the director's profound debt to, and subsequent rejection of, neorealism. In the decade that followed he turned from objective observer to introspective dreamer. His films became increasingly personal in subject matter and extravagant in style. In 1956 he was a master director: within a few years he was an international superstar.
After the release of The Nights of Cabiria, Fellini wrote Fortunella (1958), a screenplay, for the director Eduardo De Filippo, and considered directing either an adaptation of Casanova's Memoirs or Moraldo in the City. He rejected both but Moraldo was the inspiration for the character of Marcello in La dolce vita (1960), which was co-written with Pinelli, Flaiano and Brunello Rondi. A masterly depiction of the kind of decadence and sin found more commonly in the films of Cecil B. DeMille, La dolce vita tells the satirical story of a young man who arrives in Rome from the provinces to follow a career in journalism. Principal photography on the picture, which was shot in Totalscope, lasted for over five months. At the end of the shoot Fellini was left with 56 hours of film. A feature just under three hours long was released in February 1960. The film secured Fellini's reputation as an auteur of the highest order.
In Il bidone and The Nights of Cabiria, Fellini depicted the individual's quest for rebirth. With this new film, he looks at society's collective need for such regeneration. In its stupendous opening scene, a helicopter dangles a statue of Christ, arms raised, overlooking the city below him. Set over seven days and nights, the film follows cynical and world-weary gossip journalist Marcello Rubini (Marcello Mastroianni) on a rake's progress through Rome. To snare the best scoops, Marcello spends his time prying among the various cafés and bars on Rome's via Veneto, a high-profile road cluttered with the city's aspiring glitterati. Bored of his profession, and harbouring the desire to become a serious writer, Marcello seeks solace in casual sexual encounters. His first conquest is Maddalena (Anouk Aimée), who he meets in a nightclub and beds in a prostitute's apartment.
For Marcello, juggling sexual relationships is more difficult than his day job. He returns home to find his scorned mistress suffering from the after-effects of a botched suicide attempt. After he dumps her at the local hospital, Marcello eyes dazzling blonde actress Sylvia (Anita Ekberg). After attending a press conference with the bombshell he escorts her through Rome. The evening results in a kiss in the Trevi Fountain and a punch-up with Sylvia's fiancé at her hotel. Further excursions follow.
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On the set of 'La dolce vita' (1960). Federico Fellini shows Anita Ekberg how to disembark from an aeroplane like a movie star.