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Posted By donfranco1957 on December 23, 2009
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The is a movie of aesthetic images that taken together provide a attractive and ironical montage of “the edifying life.” In fact, by the extinguish I was reminded simultaneously of Thoreau’s statement that the mass of people live lives of unruffled desperation and Kierkegaard’s understanding that the natural condition of human beings is that of despair. There is no state. The movie consists of a series of loosely or unconnected scenes with petite or not attempt to link them. Many of the scenes are pleasing. Some are disturbing. None of them are dull, which is powerful given the length of the film (166 minutes) .
The beginning is memorable, with a helicopter flying over Rome with a statue of Christ hanging underneath. A celebrity journalist, portrayed brilliantly by Marcello Mastroianni (the current producer, Dino de Laurentiis, pulled out of the project when Fellini refused to cast Paul Newman in the lead role), is following the statue in order to write about it, but he and his team fetch distracted by women sunbathing in bikinis on a rooftop. In this and many other scenes, the astronomical gap between veteran and historical symbols of meaning and modern preoccupation with mere pleasure is articulated. The overwhelming sense in the film is of the great triviality of these people’s lives and the loss of good purpose. There are only two exceptions in the film: Marcello’s end friend Steiner, whose life is a search for meaning and truth, and a young girl Marcello first meets at a restaurant where she is a food server and then sees again in the last few moments of the film. But Steiner’s search is a futile one, leading him not merely to slay himself but his two children as well. And the young girl is not merely a symbol of innocence, but of innocence lost, not to be found again. In the last few seconds of the film, after a drunken debauch, Marcello walks to the seashore at dawn. There he sees the young girl across a watery divide. She waves to him, and tries to bawl something to him. But her words are drowned by the waves and the wind, and eventually they both smile, realizing that they he will never be able to hear what she has to say. The map that Marcello wistfully shrugs his shoulders is almost an acknowledgement that he is one of the damned. It is one of the most heartbreaking moments in recent film, as well as one of the most poignant.
Rome itself is as prominent in this film as any of the characters, but it is not the Rome one finds in ROMAN HOLIDAY. Remarkable of the city looks not historic or pleasing, but antiseptic, shoddily fabricated, barely reclaimed novel ruins. There are a number of shocking modernistic buildings and a number of the areas observe bleak and abandoned. This is all, of course, highly symbolic of the bleakness of the lives of the characters. Many films have discussions like this imposed on them (I consider of some of the radiant parodies in episodes of Monty Python), but LA DOLCE VITA almost demands metaphysical discussion. Fellini is concerned with the fate of human beings in the recent world, with what we have all lost and what we have failed to obtain in its set.
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Special mention has to be made of the unbelievable music for the film written by the incomparable Nino Rota, and easily stands as one of the very greatest film scores ever written, as integral to the success of the film as Bernard Hermann’s scores for NORTH BY NORTHWEST or PSYCHO or Ennio Morricone’s for A FISTFUL OF DOLLARS. It is not myth or histrionic, but naughty and light, almost ironic, as if to underscore the manner in which the characters whistle while Rome burns itself out.
A spectacular film, one of my favorites ever. It is arguably Fellini’s greatest film, and one of the mountainous monuments of cinema.
LA DOLCE VITA is neither awful nor overrated. There is something to be said for the beautiful titanic number of film fans who esteem this one. It is an episodic film, but that is a feature of grand of Fellini. In several films, Fellini builds his meaning in this way: not so distinguished with a single continuing set, but with a series of smaller stories that add up to a total collection of ideas.
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Maybe the secret (if there is one) of LA DOLCE VITA’s appeal is that it’s so darned engrossing all the time. This especially applies to the station concerning Steiner. Steiner is the key figure in the film, apart from Marcello himself, who is Fellini’s and the viewer’s counterpart. What Steiner represents to Marcello is of prime importance. The young reporter sees the older man as a perfected, idealized version of himself. He longs to emulate Steiner and is convinced this man knows how to live life fully. There is irony aplenty in the entire Steiner tale. When Marcello brings his wife to the Steiner party, they meet a few though-provoking, but mostly insufferablty pretentious ‘intellectual’ types. (the notorious Fellini ‘careless’ post-dubbing of dialogue in this scene particularly amusing: it seems to add to these characters’ disconnection from a accurate self, as though they don’t even realize what they are actually saying) . Steiner himself associates with these people, yet does not truly seem to be one of them. He feels trapped by his possess pretentious circle of intellectuals. When Marcello screech him how considerable he envies and admires him, Steiner replies:
“Don’t be like me. Salvation doesn’t lie within four walls. I’m too serious to be a dilettante and too noteworthy a dabbler to be a professional. Even the most heart-broken life is better than a sheltered existence in an organized society where everything is calculated and perfected.”
Buy,Download, Or Stream La Dolce Vita! Click Here
Buy,Download, Or Stream La Dolce Vita! Click Here
This gives Marcello worthy to perceive for the rest of the film. And Steiner’s subsequent suicide confirms the deep suspicion growing within the protagonist that all of existence, as he himself has known it thus far, is fundamentally absurd and meaningless. For this reason the film is existential in its outlook. Marcello is the unusual, urban human, trapped in an absurd universe. But Fellini, seems not fully despairing in his outlook. Contemplate, for example, the significance of Marcello’s interaction with the blonde girl in the cafe–she represents a simpler life away from the city and the over-complications of new existence. Many viewers have missed the fact that it is this same girl who waves to Marcello on the beach in the film’s final scene: she waves and is telling something he is never able to hear, so he waves once, and turns serve to the empty, inebriated crowd as they speculate about the unknowability of nature, embodied by a grisly, bloated fish.
LA DOLCE VITA is a tall film for the draw it pulls some viewers in and forces them to survey the right teach of what they are seeing. The film’s main theme is one it shares with fims of Antonioni: recent man has become disconnected from the natural world and he suffers because of it. LA DOLCE VITA’s visual style is poetic, some of its characters are more than compelling and hard to forget, and its musical derive by Nino Rota is among the most memorable of all time.
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