Conceived as a companion piece to his earlier 8 1/2 but this time concentrating on a female character (his wife/muse Masina), Fellini's first full-length feature in color (after an earlier episode of the portmanteau film Boccaccio '70) sees the director as bold with his palette as you would expect as he again explores his heady dreams and fantasies in a beautiful looking picture scored richly by musical maestro Rota.
El filme más excéntrico de Fellini hasta ese momento. La historia de una mujer junta un relato de infidelidad, la superstición y los fantasmas del pasado (traumas de la infancia reprimidos). Todo esto la atormenta, pero a la vez le provoca; parece redirles culto y no cuestionarlos. No es capaz de enfrentar a su infiel marido, como los comportamientos exagerados de mentalistas o los recuerdos que la persiguen.
It is sad, but this is one of Fellini's worst films. After Guido, in 'Otto e mezzo' (great film), was a man who has gone through an existential crisis, Fellini in this movie shows a female perspective on such a subject. But he fails. Everything is to artificial and to decorative. I really didn't enjoy watching it!
Fellini followed up the classic 2 punch of 'La Dolce Vita' and '8 1/2' with this his first full length colour film. On second viewing this stands up well within his filmography with its brilliant use of colour, music and composition. Masina is brilliant here with her depiction of a mid-age woman who must face that her husband may be having an affair while she flirts with spiritualism and hedonism. ...and that score
This was my third Fellini film, and I liked the other two more. I was captured by the bizarrely rapid pace at the beginning of the film and the premise held promise for me (a woman dealing with her self worth during a marriage crisis), but for me the middle got boring and I wasn't feeling Fellini's "here are some dreams/ghosts" like I was in 8 1/2. I just don't think I'll ever be a huge fan of his.
The portrait of middle aged woman, her past, her ghosts, her beliefs. All of that approached with an intense use of psychedelic scenes, the very characteristic style of Fellini. A story, for it's strong visual, only possible in cinema.The director's wife and muse, Giulietta Masina, plays a very enjoyable interpretation here. Needless to say that the soundtrack is spectacular, probably one of Nino Rota's bests.
Caught half way between the truly wonderful madness of Fellini's later films and the more restrained surrealism of his late Black and White features, I stumbled into this film backwards and expected more. It's not that there isn't plenty to love, and the brilliant parts are absolutely wonderful, it's simply overall it was too normal for me.
I want to call this movie a masterpiece so badly but argh! It's just not there, there's some delirious bits that are impossible not to admire and the lead is all kinds of charming but Fellini can't quite make his point without it feeling excessive at least to me. And in the end it just doesn't quite come together in the way that something like 8 1/2 does. A must see none the less.
My favorite Fellini film. Lovely that he cast his own wife as the main character and she gave an awesome performance. My reason for loving this film is he once again plays reality against an active fantasy life, fantasies that combine memory, fears, fleeting desires and the way we imagine the lives of others.
no one can take away anything from fellini in how important he is and how singular his filmic vision was but i can't say i enjoyed this film much at all. the notorious fellini dubbing was taken to a whole new level, the film didn't really have anything to it and the use of colour was too exhibitionist for my liking, bit of a miss really.
I was so excited to see this in full 1080 on TCM - I've long thought it the most beautiful film I've ever seen. For the brilliance of its color cinematography, of course, and the heartbreaking turn by Masina. The combination of these factors serve to highlight Fellini's powerful message that we must look inward to find our worth, instead of deferring to our mothers, husbands, and religions to determine it for us.