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

The desire to interpret this film by Federico Fellini solely from the point of view of the character of the protagonist tries to dissuade him the name that puts the emphasis on the word "night". That highlights the visual context, which is the main object of imaginative presentation. However, the static circumstances does not allow to perceive them as an actor. Therefore, a key technique in the picture is mediated artistic analysis, passed through a psychological drama.
Choosing the realization of the author's intention determines the mounting construction of staging, which are made on the basis of the unification plan, showing the situation and supporting characters, with staff demonstrating the response to them Cabiria. Therefore, open, bright facial expressions Giulietta Masina makes it possible not only to understand the image of the heroine, but also to see the situation through her eyes, that is, to feel the feelings screen space scenes, and therefore, by the turn in the episode.
Fellini Skill in the use of the classic conditions of the drama as a means of artistic image refracts pictures of life in Italy 50th in the prism internal contemplative world of Cabiria, why they acquire shades of creative thinking, turning those aspects that reveal the underwater tech Nia social situation, exposed the ugly truth in all its forms. For completeness, chronicles the director holds the heroine through the gallery conditions of existence of society:. From the company of young people, through the luxury apartments of the famous actor, a beggarly vegetating in a stinking ditch
Cabiria, compared with other characters and all filling the frame, has a metaphorical mobility. It seemed to hover and not only in space, moving from one part of the geography of the tape to another, from one image to another being its manifestation, while the rest of the characters, each tied to its surroundings. However, only the character of Cabiria transformed in parallel with the movement of the author's thoughts, forcing conflict drag her spiritual purity vulgarity and gross ignorance of the people around them.
literal animation picture, focusing the story on the character of Cabiria gradually leads to ownership of the viewer during her feelings that closer to the final turn into self-awareness through the heroine of the film, the projection of its state for themselves. The inclusion of the audience in the emotional fabric of the tape was the most important task of the director to implement climax chord. If it fails, the legendary Giulietta Masina smile for a moment before the titles, having absolutely stunning effect of cleansing from the hustle and soaring to the greatness of the human soul, would have lost some of their fantastic penetration in larger scope of humanistic reflection.
I will bring to your feed "a ray of light in the darkness", Fellini refused harsh criticism heartless society, thus drew creative efforts to solve the problems of human existence in the patient, and indifferent world, rather than the problem itself. Therefore, the representation of the central image in the artistic structure of the film, has become an important task in terms of understanding the public key idea. Cabiria was not supposed to be a saint or a martyr, the audience did not have to see in it a kind of archetype for the director sought to maximize the landing, her character delineation rough contours, ie, presenting it as an entirely special case, and, far from noble. Hence the sharp, vulgar demeanor in constant call. However, this ideal within incarnation naive childishness that is the true integrity. Thus Fellini's Cabiria releases from the plane of the screen in every human consciousness, making it tangible and real.
development of the artistic idea of ​​the film is closed on itself. The tape begins with the story of the brutal meanness of one of the suitors and the same ends. However, the story the circumstances and the degree of stress are jacked up to the finale to the limit, closer to the border of the tragic obscurity dissolution of consciousness in the emptiness of eternal torment. But Fellini emotional storm is not the goal, he sees the apotheosis of the drama in the transformation of man and his output to a whole new level of existence nadrealny already out of time, out of matter, but in the space of the unfathomable truths, which is not subject to the baseness of life.

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