80/100 (Film genel olarak 90'ı çok rahat hak eden çizgide ilerliyor ancak ben son on dakikasını çok didaktik ve en kötüsü "aile kurumunun yanında" olan bir çizgide buldum. Son on dakikasında eşinin peşinde gitmek yerine, o çok alımlı kadının yanına gitseydi işte o zaman gerçekçi olur ve 90 üstü bile verebilirdim. Bu yüzden sonu didaktik ve muhafazakar bitiyor bence. Evlilik karşıtı mesajını yerine getiremiyor.)
Among my more satisfying Fellini films to have watched. This vagabond story about young men who wants to drift around with women and parties without ever taking a job has a satisfying character gallery even though the most focus is on a selfish bastard who loves women of high class without realizing that his most gorgeous and best woman is the one back home. One of Fellini's most grounded movies.
One of the key works of art focused on drifting, wayward young men post-WWII. In a weird way, Fellini's quasi-autobiographical account isn't a million miles off from Kerouac. It is hard to say for sure if Fellini is impassively calling it like he sees it, or consciously mounting a critique of himself and his fellows. Ultimately this is a pretty dark portrait of callowness and ennui, even if a little wistful.
One of Fellini's earlier masterpieces. The characters are hopelessly flawed, and so sympathetic. No director in history could ever tell a story about man-children better than Fellini. To top it off, this movie has the single greatest film score I've ever heard. It's a rare score like Star Wars or Citizen Kane that not only succeeds in carrying you; it is also thoroughly unforgettable.