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

'Do not tell me - theater, say - a brothel. " Emile Zola.
In the new decade, the 1960s, Federico Fellini came with a truly grand satirical grotesque kinofreskoy, overnight in two split the Italian society. Progressive-minded part of it, young people and democratic circles, strongly praised the «Dolce Vita» for the revolutionary and fresh ideas, while conservatives, reactionaries, and the clergy unanimously denounced the film for obscurantism and free-thinking. However, first things first
idea of ​​a sequel to "mama's boy», «Moraldo in» , a long time tormented by Fellini and gradually faded into the past.: time itself acts fascist atmosphere in 1939, is hopelessly out of date, now the people worried about other problems, and the very Italian society has undergone significant changes. In place of the solidarity and cohesion of the war years came the parasitism of the powers that be, the aristocratic classes, actually prevailing in the country in a symbiotic relationship with the Catholic Church. Certain evolution has undergone and the young, full of hope and ambition Moraldo: now his name is Marcello ( Mastroianni ), he - a successful journalist, with money and connections, having success with women and is called a hundred representatives of the Roman bohemian his friends. But a specific goal in life it does not have, leading an aimless existence, Marcello, day after day wasting myself on trifles, morally devastated and eventually coming to a complete spiritual collapse. In many ways, this character is autobiographical, as, for example, and Zampano to Augusto : entrusting Marcello Mastroianni to embody on screen the hidden part of his nature, Fellini, he jokingly admitted later, "I tried to him to be a brilliant and charming» . On the other hand, Marcello screen is a kind of average type of bohemian Roman revelers having some professions only to cover up, but in reality the morally decaying from the consciousness of their own inaction.
Externally "Sweet Life" does not impress with a clear picture and smooth scene structure. Rather, it resembles rather a chaotic jumble of episodes, inspired by a newspaper chronicle, comics and tabloids tabloid weekly magazines. That is the purpose and pursue coherent director tandem and screenwriters - Brunello Rondi, Tullio Pinelli, Pier Paolo Pasolini, Ennio Flaiano and, of course, the most Fellini create cinematic evidence chaos era, express a sense of fatigue and boredom, naveivaet reductio ad absurdum of secularism and decadent luxury. It would seem difficult to argue with a realistic, sometimes even naturalistic character of the picture: the director intentionally used in some scenes of real people (artist Anna Salvatore , the writer's Leonid Repachi ), while others gave almost documentary tone (arrival at the airport a movie star Sylvia by Anita Ekberg ) ... But from the inherent symbolism Fellini did not retreat, paying due attention to the surreal and baroque details, as well as carefully and known only to the secret meaning crafted design ostyumov. What did not saw in the seven-part mosaic of film: an allegory, and the seven deadly sins and the seven days of creation and the seven sacraments; the painting is often interpreted in the spirit of "the philosophy of ethical enthusiasm» Soren Kierkegaard, close Emile Zola «erotic religiosity", satirical works of ancient authors ...
Last guess, perhaps, is not devoid of originality. Indeed, so smakuemye Fellini orgy on summer residences aristocrats are very similar to immoral pagan festivals of ancient Rome times Nero and Caligula : it is quite possible to imagine that two thousand years ago, high-loafers, fun sake, bathed in wine and sprinkled each other with feathers. But, as we see, quite a few remnants of that era preserved in the middle of the XX century, as many learned satirically depicted the realities of Fellini and personalities themselves, their habitual way of life. We learned - and were very dissatisfied. Of particular relevance to the "Dolce Vita" has developed in the Catholic hierarchy: the very first frames of the film - a helicopter transported the statue of Christ - quite transparently hinted to the loss of the primacy of the Church, has failed to fulfill its social function. This is also proved by the so-called "night fake miracle", apparently echoing the plot paintings "Blind» Pieter Bruegel , one of the favorite artists of Fellini: somewhere they that see Madonna children lead the way, not only parents, but also the whole crowd, in religious ecstasy distraught and unable to distinguish the true God from the idol. Not surprisingly, with the light hand of the official organ of the Vatican «L'Osservatore Romano» cardinals, priests and Catholic magazine editors commended the "Dolce Vita" unambiguously negative, as alleged, openly and vile describing nauseating vices, deliberately showing humiliated women and not leave its heroes, steeped in immorality, not a drop of hope.
Despite the obvious bias, the last statement is not entirely unfounded. Think about it, because, in fact, none of the characters in «La Dolce Vita» truly does not inspire compassion; all the time we are surrounded by continuous anti-heroes, and even Steiner ( Alain Cuny ), whose more or less solid principles seemed to be the only anchor of salvation for the antagonistic him Marcello, does not stand up fight with destiny and drowning, trying to swim against the tide of mediocrity. But Fellini does not consider it necessary to enter into the narrative lyrical alter ego, as well as create his social background, or to emphasize the political-moral anticlerical. Causing unprecedented for its time controversy, "La Dolce Vita" is not polemical in nature; it is difficult to call it, and the "highest, most complete product of Catholicism over the last years" as a Marxist positions found Pasolini. Vkapyvayas in the philosophical underpinnings of Fellini solutions, criticizing excessive allegory of his cinematic language, searching for the connection of his ideas with those of the luminaries of the world and absurdist existentialism, many critics have lost sight of the most important detail. After all, if we discard all the superficial and learning from the outside, we see painfully familiar to everyone our situation: difficulties in the relationship with his father ( Annibale of the pinch ) neglected the education of his son, and not able to understand it in adulthood; a difficult choice between a dedicated maternal love, which embody Emma ( Yvonne Ferno ), and an open relationship with a stunning but empty and beautiful doll in the face of Silvia; Finally, tired of flashy mannerisms among friends-of pseudo ... Fellini not exposes and does not punish: he is deeply attached to Rome, sincerely empathizes with the tragedy being experienced by the Italian society, and even the image of his most unattractive side visible the great humanism of the creator, as well as «through satire peeps happy face life» .
10 of 10

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