Even at his worst Fellini seems worth the effort. Whole sequences in City of Women are dazzling in their scale & presentation. Images, ideas & scenarios that are incomparable in their vision & unrestrained in their imagination. Unfortunately such sequences are at the service of an empty dream-narrative about a middle-aged man's inability to grasp the necessities of feminism or the role of women in a changing world.
Fellini's great sin is excess—by the 70s, life with his films means sifting through huge surreal setpieces for moments of pure, dazzling beauty. So I must confess that I was listless for the 1st half, but by the end, I could see why some critics champion it as a Hidden Masterpiece. For movies as loaded as this, don't take anyone's word for it...hit play, hang in there through any unease, and see where it takes you...
cuando el sueño de un harem se convierte en pesadilla, está poblado por feministas militantes, un delirio maravilloso que continua la reflexión y tirante relación del maestro con la figura femenina, pieza clave de la mitología felliniana
Perhaps too alienating and frustrating for some, City of Women is a disturbing and deepening experience of derogatory male quips dressed up in a dream. How can this man, Snàporaz, played by Marcello Mastroianni, get out of this dream in a city full of feminist women? One senses this was a playfully political statement by Fellini and a chance to exercise his artistry without the confines of reality holding him back.