"La Dolce Vita (1960)" Movie Review Essay & Film Analysis

One of the most significant achievements of the art of cinema, an absolute masterpiece of aesthetic and philosophical parable, covering the course of world history - all that "La Dolce Vita" by Federico Fellini. This film can be compared with the literary masterpieces of the century - "Ulysses" by James Joyce and "Petersburg" by Andrei Bely. Fellini not only captures the movement of the tectonic plates that divide the era. He finds a figurative embodiment of these processes, creating the myth of modern times. Grand in its scale artistic gesture, it sends the matter in a constructive, creative channel
Fellini This has always been distinguished by their no less famous compatriot Antonioni -. He always tried to fill the void, give the world life, saturating the greatness of spirit, even ethereal abstraction. Here and in the "Dolce Vita", as mentioned in the literary masterpiece, the main action takes place outside the human words and deeds.
This three-hour fresco develops, if by itself, flowing from the scene in the scene at the level of visual and semantic associations. At first, a picture emerges of the world can leave a painful impression. Fellini clearly felt vectors major trends of mass consciousness, so in the first stage of the primacy of the new religion of old.
Old embodied classical god, actually stale air statue. New same faceless, even to a greater extent, and this is the will of her statue to be where she is. This uncontrolled desire for emotion, generated needs and weaknesses of any healthy person. Information packed in thousands of simulacra, to create a separate space flooding the collective mind. Mercilessly and even somewhat dispassionately, Fellini shows how a new world absorbs old desakraliziruya its values, bringing them to the phantasmagoria of the absurd. The inner world of the people becomes a Procrustean bed, a space of confrontation of old and new, the spirit and the needs of religion and information. Characterized by the manner of demonstration of technical devices - mechanisms, be it the camera, or a plane, removed so that they felt a mighty power over man advantage in scale and significance. Inheriting the City Industrial Symphony beginning of the century ( "Berlin" Ruttmann, "The Man with Kinoappratom" Vertov), ​​Fellini combines traditions with their inherent single transcendental apperception, the vision of forms that embody the deepest layers. Dozens of images, which are formed in the city and its inhabitants work in the viewer a sense of the grand battle with hyper-surreal.
And the characters in the movie, in the meantime, one after another crash of hope turns into a bitter disappointment, a sense of powerlessness and the proximity of death, as the climax of contrasts emotional background. By looming emptiness can not be saved even in the dry removal of life - the opportunity for a person crosses out especially badly directed
In Marcello, the main character, these contrasts progressively reach its climax.. He dreams of being a writer, but it works in the tabloids, though, and does not show reverence to his craft. By the way, the journalists in "Sweet Life" appear true apologists of emptiness, the ministers of information space, like the flies that carry the deadly virus Nothing. There is nothing human, they just phalanges on a mechanical hand, harvesting of the camera buttons
At the beginning of the film, Marcello has not so -. But steadily Fellini holds it in the full spiritual collapse. This characters embody traits of the hero of modern times, feminine men, in fact, an absolute Infante, is gradually losing the modest beginnings of identity. At its core, Marcello dummy from the start. You may think that it is flexible, watching how easy it tightened even yesterday's wounds. But in fact it is every child, not just the surface and is able to reflect on, and the more collisions take your life experience. This becomes clear in the scenes where the hero is removed from the conventional comfort zone, fabricated in a short-term post-effect of primitive pleasures. And then I break out a terrible despair, rated the void in space that was supposed to develop the character. It becomes clear why the hero absorbs his work. He voluntarily agrees to the enslavement of information entered into the inner world of man's place only for the manifestation of superficial emotions. This saves him from the terrible pain. As long as he resists her, it is warm remnants of life, something real - and it is not literary talent is banal kindness, talent for empathy, the imprint of which is harmless and full of naive charm face Marcello. And it is the human face becomes a mask, embodying a total deconstruction of ideas about the world
But his role -. It is the role of the victim, without which it can not do any cult, any tradition, whether artistic or historical. All personal view Marcello fit in the sense of constant pressure. And in the end, it turns out to be completely broken. The final blow becomes fatal, and in the last scene of the orgy, we do not know the hero. He not only merged with the herd, he found himself in the very thick of it. The terrible sea catches, the corpse of a sea monster, embodied the image of the simulacrum, and the inner portrait of each of the participants in the orgy, the last initiation, identify with Nothing.
And whether it is a film by Antonioni, this would be the final chord and scale the amount of impressions . But the viewer is watching a half-century's "Sweet Life" fascinated, with a sense of cathartic pleasure crowning refrain legendary "smile of Cabiria." Yes, Fellini shows the fall of their heroes. But at the same time we feel like their personal problems dissolve completely in the sense of processes of matter. In the clash of the surreal and hyper-real, in the end, it was the collapse of the heroes asserts confidence in the triumph of beauty. The heroes of the film are weak and disoriented, they are trying to solve a something more, but then destroy the first shoots, if it does not happen by itself. Marcello does not have time to listen to the silence, as he immediately ripped out of it. Enlightening moment in the fountain almost immediately is tainted dirt and Marcello and Sylvia. Toward the end, we are told that in the evening the poet Steiner, one of the few truly spectacular characters of "Dolce Vita", was invited to light only as an object of ridicule. And Fellini painfully recognizes that these people are hopeless. But putting them to the reservation on the dark side of the moon, it indicates the location and strength of their scrapped. Around the world opens space containing indestructible heritage of the beautiful and majestic, surpassing all derivatives of the individual, including pain and despair
«Eternal City" in the vision of Fellini -. It is not a trivial epithet, this is the only way to describe the creation of a true humanity, his legacy to infinity, the victim of which will be thousands and thousands. But only a few, multiply this heritage is important in fact as beauty gives birth to life and vice versa, and this cycle exists on the inspiration pairs ever fixes it in its process and in their works for someone who is ready to open a new beginning wholeheartedly, unreservedly, with a smile on his face.
10 of 10

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