As a man I feel embarassed for my own sex sometimes. This movie intensifies that feeling and makes me wanna hold my arms around Cabiria so that no one can take advantage of her again. That Fellini managed to make such a sad and depressing story so enjoyable and beautiful is a miracle in itself. The film also feels so natural and honest that it is impossible to find anything wrong with it - and who wanna.
A masterpiece is never a coincidence. Take a shantytown hooker’s true stories, combine that with Fellini’s cinematic talent and Pier Pasolini’s poetic dialogues and you’ll get to this unique piece of art. Bright and dark, women and men, happiness and survival, non-linear as life itself.
Curiosa a estrutura quase semi-episódica, própria do neorrealismo, que funciona com liga considerando-se a história de uma personagem só - a Cabiria que intitula o filme. Funciona bem. O tom inicialmente cômico me deixou receoso de que rolasse uma abordagem comicizante e relativizante no que se refere à prostituição, mas o filme consegue ser sério quando precisa ser sério - e falando nisso, que final.
I blame myself watching La Dolce Vita first and then this because you can see what that film built upon with this one. Not that this detracts in anyway with Miasina being the animated caricature force that glues this film together making her an intimidation and sympathetic person all in one camera shot and every other character she meets gives more depth than La Dolce Vita but that bloody ending left me heartbroken.