"Nights of Cabiria (1957)" Movie Review Essay & Film Analysis

«reappeared someone whom she can give the money to them, he drank away, and then another, and beat her in the bargain. Rose was happy. " Erich Maria Remarque,
«Three Comrades." Of all the films made by Federico Fellini in the 1950s, no one, perhaps, has not caused so many disputes, gossip and interpretations as "Nights of Cabiria» . Georges Sadoul, André Bazin, Alberto Moravia and other recognized Italian and French critics tirelessly to bite into the aesthetics and the problems of painting, searching and sometimes nadumyvaya parallels with Dostoevsky and Turgenev, Hugo and Cervantes, with the early works of Fellini and creations neorealist ... But we will not go too far in the transcendental-eschatological wilds and present their understanding of the "Nights", perhaps simplistic, but would like to believe, more humane.
become a kind of tradition to analyze the sixth fil m Fellini with an eye for a second, «White Sheikh» , in the final which appeared for the first time a prostitute named Cabiria. To Giulietta Masina , this role was the third such plan: in 1948, she was seen in a similar role in the film Alberto Lattuada «No pity», and three years later - in the «shuttered» Luigi Comencini. It is not surprising that another way of getting used to the representatives of the oldest profession has demanded from her enormous spiritual tension. Trying to understand the depth and controversial personalities of the new Cabiria, should take into account two main factors. Firstly, it is hardly appropriate to seek any of its prototypes in the world literature and cinema of the past. Neither Sonia from «Crime and Punishment», or Fantine from «Les Miserables», nor the numerous "night butterflies" from Remarque's novels can not even be compared with Cabiria in the degree of resilience, the ability to love and the power of faith - not some higher mysterious powers, but in the people. And, secondly, it is necessary to abstract from the stigma of Cabiria as a "fallen woman", "fallen sister Dzhelsominy" which impose morality of our society developed reflexes. Selflessly giving himself to his craft, Cabiria retains a sense of dignity, pride and spiritual purity. Therefore, it is not closed in itself, like a defenseless Gelsomino; not knowing how to suffer in silence, she selflessly given the surging joy of it, the passion, the suffering ...
«Some things can not be touched by dirty hands»
From the «Road » in the" Night "smoothly migrated to one of the most important motives of creativity of Fellini - loneliness and human disconnection in contemporary Italian society. Despite the constant support true girlfriend Wanda, Cabiria even surrounded by other prostitutes enjoys the reputation of "move", and therefore is trying to somehow escape from the oppressive everyday life (or rather, "povsenochnosti") to escape into a different reality, albeit illusory, but a more coherent and rainbow. And so strong deep sympathy, which she inspires oncoming men, that they are trying her help with this: first, the famous actor Alberto (rethinking "of the White Sheikh"), then - obscure hypnotist ... They treat it not as a woman, the more sales but rather as an adult and get lost in the darkness of his soul child, a little offended, but still touching in its naivety. I would not say that the "Nights" Fellini has clearly decided to resort to the favorite device of angelizatsii, whereby images Dzhelsominy and Matto and disclosed the nature of "Rascal" Augusto were created. Cabiria - absolutely real, and a real woman, even if unlucky, but really beautiful in its struggle for mere earthly happiness. She in turn becomes tempered her nine cat lives, but only in order to again and again phoenix rise from the ashes of lost illusions, and finally, in spite of the whole start in the last life, which certainly should be better and brighter than the previous.
emphasize : it is the earthly happiness, affordable and accessible exclusively efforts of Cabiria. Indeed, during the celebration of the Day of the Holy Virgin Madonna remains deaf to her tearful pleas, the priest Giovanni can not accept her confession, and the standard-bearers of pilgrims continue their journey cold and slightly arrogant, not even turning to her cries. Generally in the "Nights of Cabiria" Fellini touched its difficult relations with the Catholic Church more clearly than usual. That there is a single episode of "benefactor with a bag" to help the poor, cut from the final version of the film immediately after the Cannes premiere of the show: the clerics decided that the director decided to entrust the mission of Christ by means of orphaned and impoverished human, unacceptable by all the canons of Scripture move. However, the abundance of religious allegories in the films of Fellini is a separate interesting topic for analysis, the benefit of himself, Federico at the time of "Nights" and could not give a definitive answer to the question whether he called himself a true Catholic can.
Live Cabiria met a director of the shooting «Fraud», and her name was Wanda: she lived in a dilapidated hut, cautiously took him some food, but then a intrinsic to her nature passion frankly told about all the sufferings and sorrows suffered by it while working on the ri mskih streets. The social environment in which the works of Fellini is absolutely natural, but because of his deep love for her, she involuntarily distorted acquires shades of mystery - as well as immersed in her characters. Pier Paolo Pasolini , who took part in writing the script for "Nights", feared that this reality does come into disharmony with reality stylized, with the introduction of the latest heroes as, according to many came from Gelsomino and "expensive". But several Cabiria down to the level of the world around her and lifting the latter to the level of most of Cabiria, Fellini and Masina made a unique combination of forever left a mark on the soul of each of the great creators. And if Juliet decided to forever say goodbye to the left it Cabiria, the Federico seems, I was never able to forget this final radiant look, reminiscent of Chaplin's tramp of «city lights» . Look, filled not only with tears of lost illusions, but also the stars of new hopes.
10 of 10

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