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Movie Title: La Dolce Vita La Dolce Vita is available for streaming or downloading. |
The is a movie of gorgeous images that taken together provide a heavenly and ironical montage of “the helpful life.” In fact, by the destroy I was reminded simultaneously of Thoreau’s statement that the mass of people live lives of calm desperation and Kierkegaard’s understanding that the natural condition of human beings is that of despair. There is no region. The movie consists of a series of loosely or unconnected scenes with itsy-bitsy or not attempt to link them. Many of the scenes are radiant. Some are disturbing. None of them are tiring,, which is noteworthy 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 recent 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 acquire distracted by women sunbathing in bikinis on a rooftop. In this and many other scenes, the stout gap between outmoded and historical symbols of meaning and novel preoccupation with mere pleasure is articulated. The overwhelming sense in the film is of the substantial triviality of these people’s lives and the loss of suitable purpose. There are only two exceptions in the film: Marcello’s discontinuance 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 ruin 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 device 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 fresh 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. Grand of the city looks not historic or elegant, but antiseptic, shoddily fabricated, barely reclaimed unique ruins. There are a number of frightening modernistic buildings and a number of the areas explore 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 comely 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 novel world, with what we have all lost and what we have failed to net in its residence.
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Special mention has to be made of the astounding 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 anecdote or histrionic, but mischievous 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 gigantic monuments of cinema.
LA DOLCE VITA is neither unpleasant nor overrated. There is something to be said for the comely substantial number of film fans who cherish this one. It is an episodic film, but that is a feature of considerable of Fellini. In several films, Fellini builds his meaning in this way: not so considerable with a single continuing space, 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 appealing all the time. This especially applies to the place 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 legend. When Marcello brings his wife to the Steiner party, they meet a few bewitching, but mostly insufferablty pretentious ‘intellectual’ types. (the renowned Fellini ‘careless’ post-dubbing of dialogue in this scene particularly amusing: it seems to add to these characters’ disconnection from a right 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 bear pretentious circle of intellectuals. When Marcello instruct him how powerful 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 powerful a dabbler to be a professional. Even the most unfortunate 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 noteworthy to spy 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 novel, 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 befriend to the empty, inebriated crowd as they speculate about the unknowability of nature, embodied by a ugly, bloated fish.
LA DOLCE VITA is a ample film for the scheme it pulls some viewers in and forces them to witness the right insist of what they are seeing. The film’s main theme is one it shares with fims of Antonioni: fresh 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 gain by Nino Rota is among the most memorable of all time.
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