La dolce vita
Excerpt from the book 'Federico Fellini. The Complete Films', by Chris Wiegand
Page [1] [2] [3]
Although she went on to star in several of Fellini's later films, Ekberg would forever be remembered for her appearance in La dolce vita. In conversation with Giovanni Grazzini, Fellini himself commented, "Twenty-five years after the film, its title, its image are still inseparable from Anita."
Fellini researched the world depicted in La dolce vita during the summer of 1958. He became a regular at the cafés along the via Veneto, learning the tricks of the trade from its hordes of photographer-reporters. Famously, he chose to recreate the street at Cinecittà at the expense of his own percentage of the film's profits. Designer Piero Gherardi built him a long strip of via Veneto on Cinecittà's number 5 stage. One of more than eighty sets constructed for the film, this strip was almost an exact replica of the original. The only major difference was that Gherardi's street was flat, while the real via Veneto had a slope.
La dolce vita's international reception could not have been predicted. It swiftly entered into the public's consciousness. The kind of turtleneck sweater favoured by the stars of the film became known as a 'dolce vita.' The surname of the principal photographer, Paparazzo, became the accepted name for any gossip photographer, more recognisable in its plural of 'paparazzi.' 'Felliniesque' became a commonplace phrase. National monuments such as the Trevi Fountain became instantly synonymous with the film and its stars, attracting visitors from all over the world. When Mastroianni died over 30 years later, the fountain was symbolically switched off and draped in black as a tribute.
The film was a cause célèbre, quickly gaining a reputation as a contentious, controversial feature that demanded a reaction from all quarters. The press and the Catholic Church were quick to make their voices heard. One Italian newspaper called the film 'This Disgusting Life,' while the Church condemned it as pornographic. Some threatened the director and anyone who saw the film with excommunication. Right-wing extremists labelled it immoral and even called for Fellini's arrest. After one screening in Milan, a member of the audience spat in the director's face. Fellini's own mother couldn't understand why he'd made such a picture. Such powerful reactions helped turn La dolce vita into an instant boxoffice smash, breaking all previous records in Italy and allowing Fellini to set up his own production company, which he named Federiz. The film enjoyed considerable critical success, becoming the accepted benchmark of art cinema. Fellini was awarded the Palme d'Or at Cannes and became the first foreign film-maker to be nominated in the Best Director category at the Oscars. He lost but Piero Gherardi won Best Costume Design.
Page [1] [2] [3]
Page [1] [2] [3]
Although she went on to star in several of Fellini's later films, Ekberg would forever be remembered for her appearance in La dolce vita. In conversation with Giovanni Grazzini, Fellini himself commented, "Twenty-five years after the film, its title, its image are still inseparable from Anita."
Fellini researched the world depicted in La dolce vita during the summer of 1958. He became a regular at the cafés along the via Veneto, learning the tricks of the trade from its hordes of photographer-reporters. Famously, he chose to recreate the street at Cinecittà at the expense of his own percentage of the film's profits. Designer Piero Gherardi built him a long strip of via Veneto on Cinecittà's number 5 stage. One of more than eighty sets constructed for the film, this strip was almost an exact replica of the original. The only major difference was that Gherardi's street was flat, while the real via Veneto had a slope.
La dolce vita's international reception could not have been predicted. It swiftly entered into the public's consciousness. The kind of turtleneck sweater favoured by the stars of the film became known as a 'dolce vita.' The surname of the principal photographer, Paparazzo, became the accepted name for any gossip photographer, more recognisable in its plural of 'paparazzi.' 'Felliniesque' became a commonplace phrase. National monuments such as the Trevi Fountain became instantly synonymous with the film and its stars, attracting visitors from all over the world. When Mastroianni died over 30 years later, the fountain was symbolically switched off and draped in black as a tribute.
The film was a cause célèbre, quickly gaining a reputation as a contentious, controversial feature that demanded a reaction from all quarters. The press and the Catholic Church were quick to make their voices heard. One Italian newspaper called the film 'This Disgusting Life,' while the Church condemned it as pornographic. Some threatened the director and anyone who saw the film with excommunication. Right-wing extremists labelled it immoral and even called for Fellini's arrest. After one screening in Milan, a member of the audience spat in the director's face. Fellini's own mother couldn't understand why he'd made such a picture. Such powerful reactions helped turn La dolce vita into an instant boxoffice smash, breaking all previous records in Italy and allowing Fellini to set up his own production company, which he named Federiz. The film enjoyed considerable critical success, becoming the accepted benchmark of art cinema. Fellini was awarded the Palme d'Or at Cannes and became the first foreign film-maker to be nominated in the Best Director category at the Oscars. He lost but Piero Gherardi won Best Costume Design.
Page [1] [2] [3]
Still from 'La dolce vita' (1960). Nadia (Nadia Gray) celebrates her divorce by stripping for her friends.