SPOILERS***

I normally raise an eyebrow when critics speak of directors of being “too indulgent” or expressing some sort of self-masturbatory vision. I scoff because it’s often misused; many have a mentality that cinema or music or any form of art should be pleasing to the masses. The point of art is, if I remember correctly from my grade school art class, a means of self expression. If a director’s wild vision accurately reflects the said director’s beliefs, mindset or dilemmas, then I find value in that. Just like you read reviews from your favorite critic because you’ve established a trust in their opinions, we should feel connected to the directors and actors and writers and why they choose the roles they do.

Juliet of the Spirits is a film that really puts this idea to test. Federico Fellini became of the most self-indulgent directors…ever, at some point during his career. Even during Juliet of the Spirits, which was a birthday gift to his wife and oft-used actress Giulietta Masina, Fellini couldn’t help but make the movie all about himself and his inner demons. The film follows Giulietta (also Masina’s character’s name) and her slow realization that her husband is cheating on her. On the way she discovers a bit about herself that was previously shadowed by her seemingly happy marriage.

For all the wild colors and incredibly creative cinematography, I find there is very little to write about this film, which is extremely disappointing. The opening scene had me absolutely giddy with excitement. I had seen calm Fellini with La Strada and crazy Fellini with 8 1/2, and I loved each of them. Juliet of the Spirits’ opening scene felt even more loose than 8 1/2, but also felt even more graceful than 8 1/2’s dream sequences, which are the highlight of the film. We shift around mirrors and view different wigs on the backside of Giulietta during one long, uninterrupted shot. She moves throughout rooms with her maids and it leads into many rapid discussions occurring simultaneously that blend together, yet progress the film and provide insights into each character.

While this opening scene is great, it quickly regresses. There is a long sequence where a woman attempts to connect with the spirits and random Fellini-like interruptions occur, such as a random telephone or a man ridiculing their crazy rituals. But what we do learn is that Juliet is very much a spiritual person, which is essential for the remainder of the film. This movie is about and only about Giulietta, whose desperate need for human connection only drives her towards her spirit friends as she learns more of her husband’s affair. She resists sexual temptation after sexual temptation, which either creates for some friendly spirit connections or some horrific images that reflect her inner demons and desires.

But we understand this fairly quickly, and really the movie feels like it’s said all it can halfway through. At some point, Fellini should have realized that there is such a thing as TOO MUCH. I love looking at the spectacular colors and random dreams filled with dead horses, girls on swingsets and slave-filled ships; I understand Fellini is on top of his game and could probably make a three-hour film with nothing but dream sequences. But honestly, I don’t care for the images if the story isn’t advancing. If there’s no progression, why am I watching? What, do we need to establish Giulietta becomes more depressed, or more driven with sexual desires she won’t act on? Her story is heartbreaking, it really is. But at one point, I just stop caring for the central character, which is the worst kind of movie parasite.

I honestly don’t feel confused or overwhelmed with how Fellini chose to film Juliet of the Spirits. On the contrary, I felt I understood everything quite well and I didn’t even need a second viewing. Giulietta is jealous of her better-looking siblings and mother, who constantly badgers her daughter about her appearance. She lives in a world where having a husband is everything, which makes her attempts to win him over seem heartless and unbecoming. Her sexy neighbor brings out the pressures of her desires to act on her sexual demons and get down with sexy, overly muscular Italian men. And it’s amazing how Fellini engages the spirits in bringing out these flaws in Giulietta. This is what makes the final scene work, where Giulietta is able to drive away her demons and clear the entire house, which becomes flooded with them, and finally let her husband go. She becomes a free woman because she realizes she doesn’t need men. She doesn’t need to act out on those sexual desires to be satisfied with herself. As far as empowering his significant other, Fellini gave one hell of a birthday present.

Yet, overall it feels unsatisfying. I don’t have a problem with the lack of a plot, as it is nothing more than a character exploration. But I do have a problem with the lack of a script. The great thing about cinema that separates itself from literature is its ability to provide visual magic that can enhance any story. Fellini engages himself in the visual powers of cinema, but forgets the audience should feel something beyond the “ooh’s” and “ahh’s” he so often attracts. To get back to my first point, I don’t have a problem with Fellini immersing himself in a project so wholeheartedly. I understood the message he was conveying, and it was a pleasure to witness. But the best films have a way of revealing themselves while also providing some sort of emotional attachment, which Juliet of the Spirits unfortunately lacked.

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