While I admire it's theme of selflessness, my issue is that I never once believed the romance between Anna Magnani and any of her three lovers. The bullfighter and the her first lover left barely an impression and Don Antonio just felt like another jaded aristocrat character. Sadly, I also didn't think Anna herself was all that great as she was mostly mopey and rarely exuded a sense of passion for life and people.
Joyfully entropic, reordering itself within a grand design to accommodate the flux of human impulse. It uses the stage as a backdrop of stability with which to highlight the kinetic power of movies-a modern way of seeing that looks back in time, measuring what is transient and what is lasting in the way we look at each other. Might just be great enough to reconcile all the major paradoxes of art and life.
A trio of men are inexplicably drawn to actress Camilla. They woo. They court. There are moments of screwball comedy shenanigans. There is a message about social status and power tied up with the fate of a schmancy coach. (The opening and closing seem to be old school 3D. I don't think the theater where I saw the movie was aware of this so no glasses were offered and the projectionist kept trying to focus the film.)
"Actors, how shocking!" Visual splendor, vivacious storytelling and vivid emotion. All in glorious technicolor! A digestible social commentary about cultural boundaries wrapped in drama akin to the traveling troupe. The juxtaposition of visual design between shots is mesmerizing; each composition is layered, yet poignant -must be a genetic disposition. Allen and Almodovar took notes on this one, I'm sure.
A complex masterpiece, masquerading as a light and comic period piece. Truffaut nails it when he called it "The noblest and most refined film ever made...a film about theatre in the theatre". I wish that "The Golden Coach" and Renoir's "The River" were as known as some of his earlier films, both are incredibly beautiful works of art.