сладкая жизнь 1960 трейлер
User Reviews
Okay, get ready and hold onto your hats folks, as I was NOT 100% enthralled with this film and think it’s a bit overrated. Yes, this of course if the signal that you should NOT read any more but simply mark my review as «not helpful» because my opinion differs from the norm. I actually get this a lot if I buck popular wisdom but shouldn’t a review try to say something different other than «I agree with you and everyone else»? Now don’t misunderstand me—I did NOT dislike the film nor do I say it was poorly made. But the film’s messages about fame and the pointlessness of life got rather tiresome to me after a while. Plus, while at first the film seems to say that certain lifestyles or types of people are hollow and banal, the final message of the overall film seems to be ALL life is pointless. I really enjoyed the scenes with Anita Ekberg—they remind me of the pointless adulation of celebrity today (such as Anna Nicole Smith) but after a while it seemed that Fellini was pretty much lampooning and condemning everything and leaving the viewer with the possible conclusion that life is meaningless so you may as well become an idiot (like Marcello had become by the end of the film). In many ways, though the movie is often upbeat and trivial, the meta-message is much more depressing and cold than that many Bergman films. I at least liked to have seen SOME spark of hope or at least a movie that didn’t go on for so long that it left me a bit depressed.
Overall, not a bad film at all, but there are many Fellini films I prefer, such as WHITE SHEIK, LA STRADA and AMARCORD.
This was a movie that I didn’t see until recently. After seeing it, I am kicking myself for not having seen it earlier. It is a simply wonderful film, and one of the best movies of the 60s. It is a scathing satire on the decadence of contemporary Italy and the hypocrisy of the Catholic Church, and Fellini’s reputation for flamboyant and controversial imagery and subject matter can be seen in full flight here. In no way is that a bad thing, I loved the subject matter La Dolce Vita took and it dealt with it in a superb way. It may be a scathing satire, but it is also a surprisingly mature and poignant film as well.
While over two and a half hours long, La Dolce Vita is never dull, or at least not to me, because everything is so well done the film just engrosses you. The script is truly excellent and easy to understand and the story is a brilliantly written(if episodic) one too with some wonderfully constructed scenes-loved the musical sequence best of all, and the encounter with Anita Ekberg in Rome’s Trevi Fountain is unforgettable. Fellini’s direction is outstanding and one of the main reasons why La Dolce Vita is as good as it is.
From a visual stand point, La Dolce Vita cannot be faulted either. The cinematography is simply gorgeous as are the immaculate production values. In fact, I don’t know about anyone else but this is one of the most visually beautiful films I have seen in a while now. Nina Rota’s score is one of his best, it is very beautiful and memorable. The acting I found little to fault either. Marcello Mastroianni is absolutely wonderful playing a wholly credible if somewhat unsympathetic character, and all the acting and characterisations are on par too.
All in all, this film is a masterpiece and for those who haven’t seen it already, I recommend it highly. 10/10 Bethany Cox
Marcello Rubini (Marcello Mastroianni) is a man-about-town and a gossip journalist in Rome. His girlfriend Emma overdoses and recovers. Swedish-American bombshell Sylvia (Anita Ekberg) arrives and hangs out with Marcello while the Paparazzo hounds them. Her boyfriend Robert gets angry and hits him. As his series of adventures continue, there is an emptiness to it all and a meaninglessness to his life.
This iconic film has a disjointed narrative structure. It has many sections without the connective tissue. It’s a tough watch especially for a three hour movie. It’s exhilarating for a long time but it gets tiring by the end. The sad emptiness infects the viewing experience. The lifestyle is thoroughly modern celebrity world. The thrill disapates. Its iconic nature deserves extra points, but this is strictly for film fans.
«La dolce vita» is a mostly Italian-language film from 1960 and it is among the career-defining works of director Federico Fellini, who is also one of the many many writers contributing to the script of this one. But as the film runs for almost three hours, it is not too surprising the screenplay crew includes so many names. By the way, one of them is another Italian filmmaking great, namely Pasolini. And if I say this is a career-defining work for Fellini, then maybe you know wht this means if you take a look at his big body of work that includes many truly successful films. It’s maybe between this one here and 8 1/2, at least if we focus on what he did in the 1960s. There’s works from the 50s and 70s too that could deserve the title most fammous Fellini movie as well. But yeah this one here and 8 1/2 even have some similar awards recognition. Both won Gherardi the Cosrume Design Oscar and for both he was nominated for Art Direction too and more Oscar nominations were included. The only reason why this one here perhaps did not win the Foreign Language Film Academy Award was that Italy picked another movie to represent the country at the Oscars that year, but I guess with 8 1/2 they did not make the same mistake. You could say it was a year for countries inspired by foreign cultures at the Oscars of course with the big West Side Story success, but also especially in terms of Italy with Sophie Loren winning Best Actress. Now she was not in La dolce vita. Actually, apart from Anita Ekberg, most of the female actors with a great deal of screen time were French, so no surprise that this is an Italian/French co-production. Aimée, Fourneaux, Noel. and also Alain Cuny who plays one of the bigger supporting characters. Bit the star at the center of it all in this black-and-white movie is of course Fellini’s regular Marcello Mastroianni playing another Marcello. And it is also not the only film where he played next to Anouk Aimée for example. So yeah MM is in this one from start to finish and the action keeos revolving around him. He is a journalist himself, so sort of the interfact between the ruthless world of paparazzi and the posh world of stars and starlets. And he clearly enjoys the attention as we see him hook up with famous actresses more than once. His fiancée clearly did not like it, but if wonderful sequences arise from that like the scene early on when they manage to hide away with the help of a prostitute or also when we get this still really famous Trevi fountain sequence starring the late Anita Ekberg (and a baby kitten before that), then I am all for it.
I would generally say that I liked these early parts more that took us into Marcello’s love life and this was when the film was even at 4 stars out of 5 I would say, but sadly it did get a bit worse afterwards being really more on the showy side eventually than delivering the substance like it does early on. Of course, it is a challenge almost impossible to master with this running time. However, the focus switches to religion considerably at some point, first with the priest then with the two children who (allegedly) saw the Virgin Mary. I mean these parts aren’t horrible, probably not even weak, but still a decline in quality compared to the level before them. In-between there are always again scenes during which the film gets better again like the not too long one with the character of Paola (Valeria Ciangottini ) at the restaurant symbolizing goodness and innocence and who also reappears at the end again on the seaside, but overall they are not getting the greatness from early on back. Also the scenes with Steiner did not do too much for me and the horrible crime linked to him eventually did not have an impact on me at all. It felt very much for the sake of it sadly. For being as shocking and controversial as possible, but sometimes less is more. The way we see the paparazzi when they go fetch the wife was more memorable, but still this also felt really clumsy in terms of story-telling. It is already bad enough that the guy needs somebody to identify the wife, but when he tells her that the kids are just injured etc. like what is happening, this is not appropriate police work, also not back ober half a century ago, now 60 years almost actually, probably over 60 when you read this review. Still the film also lives through the individual scenes, actually more through these than as one piece as a whole. I won#t mention all the scenes I am talking about this way, but I called some already. Other examples would of course be the really big sea animal at the end that brings all kinds of metaphors and symbolisms to the table or if we are talking about the very end already, same is true for the very beginning when we see Marcello up there in the helicopter who takes down the statue. He says on one occasion that he is a big shot with great connections to everybody who matters, like the Vatican too, and this opening scene is pretty much the best example. He is where the action is and there is always many attractive women surrounding him, again not to the liking of his fiancée. But it comes with the job I guess and his looks. Mastroianna sure gave a nice performance here too and I sometimes feel he is not getting the recognition really as he should for his acting in some of his works, especially the Fellini films. So overall, despite the decline in quality this was still a good movie and I was a bit surprised that I liked it a lot more than years ago when i saw it for the first time, so perhaps it really is a film that gets better as you grow older and perceive it differently. Who knows. I’m curious what my verdict will be perhaps at the age of 50 if I decide to watch it again then. And if I maybe also like that party scene towards the end then that honestly now did really do nothing for me at all. We will see. But for now, it is enough maybe for at least the next 5-6 years because there is just so much interesting other stuff to (re)watch, let alone all the new quality films coming out. This one here gets a thumbs-up from me, but not an enthusiastic one. If you aren’t thrilled be the first hour, then maybe skip the rest. It’s only going downhill from there.
I didn’t care very much for this movie while I was watching it, but while taking a walk and thinking about it right after, I was able to discern the picture’s message, even if it wasn’t a very uplifting one. It seems like Fellini was going for alienation and a search for meaning, and without knowing anything about the director, I would venture to say that the picture was autobiographical to a large degree. I could be totally off base, but that’s the impression I got.
Most of the characters in the story are fairly pathetic, including the principal player Marcello (Marcello Mastroianni). They engage in self absorbed, hedonistic behavior, living only for today with little regard for anything other than self gratification. The exceedingly fleeting nature of fame and notoriety is given short shrift with the frantic buzzing of the paparazzo running around in circles trying to capture the next big headline or lurid photo for their tabloids. So it comes as a shock when the one seemingly serious character in the story, Steiner (Alain Cuny), proves to be the one who can’t cope with his life of achievement and intellectual pursuit and ends it in tragedy. All rather depressing if you think about it.
I guess the main thing that bothered me while watching the story was how random Marcello’s day to day encounters turned out to be. There didn’t seem to be a sense of continuity to his life and maybe that was the point. Unable to find fulfillment in his relationship with Emma (Yvonne Furneaux), Marcello simply bounced around accepting whatever life handed him on a particular day instead of seeking out something meaningful.
The one character that I was able to identify with most was the young working girl in the café who didn’t want to be there. At least she had a purpose in her situation, it was to get out of there when her father finished his job. I got the idea that she might have been smitten by Marcello’s attention in complimenting her, which is why I was left somewhat dismayed when she waved to him near the end of the story while standing on the beach. I replayed it a couple of times, and it looked like she was mouthing ‘love you’ to Marcello, though of course he was too far away to see or hear her. For her to connect with Marcello would have been an unintended consequence waiting to turn into another hopeless situation if that were to happen.
User Reviews
Okay, get ready and hold onto your hats folks, as I was NOT 100% enthralled with this film and think it’s a bit overrated. Yes, this of course if the signal that you should NOT read any more but simply mark my review as «not helpful» because my opinion differs from the norm. I actually get this a lot if I buck popular wisdom but shouldn’t a review try to say something different other than «I agree with you and everyone else»? Now don’t misunderstand me—I did NOT dislike the film nor do I say it was poorly made. But the film’s messages about fame and the pointlessness of life got rather tiresome to me after a while. Plus, while at first the film seems to say that certain lifestyles or types of people are hollow and banal, the final message of the overall film seems to be ALL life is pointless. I really enjoyed the scenes with Anita Ekberg—they remind me of the pointless adulation of celebrity today (such as Anna Nicole Smith) but after a while it seemed that Fellini was pretty much lampooning and condemning everything and leaving the viewer with the possible conclusion that life is meaningless so you may as well become an idiot (like Marcello had become by the end of the film). In many ways, though the movie is often upbeat and trivial, the meta-message is much more depressing and cold than that many Bergman films. I at least liked to have seen SOME spark of hope or at least a movie that didn’t go on for so long that it left me a bit depressed.
Overall, not a bad film at all, but there are many Fellini films I prefer, such as WHITE SHEIK, LA STRADA and AMARCORD.
This was a movie that I didn’t see until recently. After seeing it, I am kicking myself for not having seen it earlier. It is a simply wonderful film, and one of the best movies of the 60s. It is a scathing satire on the decadence of contemporary Italy and the hypocrisy of the Catholic Church, and Fellini’s reputation for flamboyant and controversial imagery and subject matter can be seen in full flight here. In no way is that a bad thing, I loved the subject matter La Dolce Vita took and it dealt with it in a superb way. It may be a scathing satire, but it is also a surprisingly mature and poignant film as well.
While over two and a half hours long, La Dolce Vita is never dull, or at least not to me, because everything is so well done the film just engrosses you. The script is truly excellent and easy to understand and the story is a brilliantly written(if episodic) one too with some wonderfully constructed scenes-loved the musical sequence best of all, and the encounter with Anita Ekberg in Rome’s Trevi Fountain is unforgettable. Fellini’s direction is outstanding and one of the main reasons why La Dolce Vita is as good as it is.
From a visual stand point, La Dolce Vita cannot be faulted either. The cinematography is simply gorgeous as are the immaculate production values. In fact, I don’t know about anyone else but this is one of the most visually beautiful films I have seen in a while now. Nina Rota’s score is one of his best, it is very beautiful and memorable. The acting I found little to fault either. Marcello Mastroianni is absolutely wonderful playing a wholly credible if somewhat unsympathetic character, and all the acting and characterisations are on par too.
All in all, this film is a masterpiece and for those who haven’t seen it already, I recommend it highly. 10/10 Bethany Cox
Marcello Rubini (Marcello Mastroianni) is a man-about-town and a gossip journalist in Rome. His girlfriend Emma overdoses and recovers. Swedish-American bombshell Sylvia (Anita Ekberg) arrives and hangs out with Marcello while the Paparazzo hounds them. Her boyfriend Robert gets angry and hits him. As his series of adventures continue, there is an emptiness to it all and a meaninglessness to his life.
This iconic film has a disjointed narrative structure. It has many sections without the connective tissue. It’s a tough watch especially for a three hour movie. It’s exhilarating for a long time but it gets tiring by the end. The sad emptiness infects the viewing experience. The lifestyle is thoroughly modern celebrity world. The thrill disapates. Its iconic nature deserves extra points, but this is strictly for film fans.
«La dolce vita» is a mostly Italian-language film from 1960 and it is among the career-defining works of director Federico Fellini, who is also one of the many many writers contributing to the script of this one. But as the film runs for almost three hours, it is not too surprising the screenplay crew includes so many names. By the way, one of them is another Italian filmmaking great, namely Pasolini. And if I say this is a career-defining work for Fellini, then maybe you know wht this means if you take a look at his big body of work that includes many truly successful films. It’s maybe between this one here and 8 1/2, at least if we focus on what he did in the 1960s. There’s works from the 50s and 70s too that could deserve the title most fammous Fellini movie as well. But yeah this one here and 8 1/2 even have some similar awards recognition. Both won Gherardi the Cosrume Design Oscar and for both he was nominated for Art Direction too and more Oscar nominations were included. The only reason why this one here perhaps did not win the Foreign Language Film Academy Award was that Italy picked another movie to represent the country at the Oscars that year, but I guess with 8 1/2 they did not make the same mistake. You could say it was a year for countries inspired by foreign cultures at the Oscars of course with the big West Side Story success, but also especially in terms of Italy with Sophie Loren winning Best Actress. Now she was not in La dolce vita. Actually, apart from Anita Ekberg, most of the female actors with a great deal of screen time were French, so no surprise that this is an Italian/French co-production. Aimée, Fourneaux, Noel. and also Alain Cuny who plays one of the bigger supporting characters. Bit the star at the center of it all in this black-and-white movie is of course Fellini’s regular Marcello Mastroianni playing another Marcello. And it is also not the only film where he played next to Anouk Aimée for example. So yeah MM is in this one from start to finish and the action keeos revolving around him. He is a journalist himself, so sort of the interfact between the ruthless world of paparazzi and the posh world of stars and starlets. And he clearly enjoys the attention as we see him hook up with famous actresses more than once. His fiancée clearly did not like it, but if wonderful sequences arise from that like the scene early on when they manage to hide away with the help of a prostitute or also when we get this still really famous Trevi fountain sequence starring the late Anita Ekberg (and a baby kitten before that), then I am all for it.
I would generally say that I liked these early parts more that took us into Marcello’s love life and this was when the film was even at 4 stars out of 5 I would say, but sadly it did get a bit worse afterwards being really more on the showy side eventually than delivering the substance like it does early on. Of course, it is a challenge almost impossible to master with this running time. However, the focus switches to religion considerably at some point, first with the priest then with the two children who (allegedly) saw the Virgin Mary. I mean these parts aren’t horrible, probably not even weak, but still a decline in quality compared to the level before them. In-between there are always again scenes during which the film gets better again like the not too long one with the character of Paola (Valeria Ciangottini ) at the restaurant symbolizing goodness and innocence and who also reappears at the end again on the seaside, but overall they are not getting the greatness from early on back. Also the scenes with Steiner did not do too much for me and the horrible crime linked to him eventually did not have an impact on me at all. It felt very much for the sake of it sadly. For being as shocking and controversial as possible, but sometimes less is more. The way we see the paparazzi when they go fetch the wife was more memorable, but still this also felt really clumsy in terms of story-telling. It is already bad enough that the guy needs somebody to identify the wife, but when he tells her that the kids are just injured etc. like what is happening, this is not appropriate police work, also not back ober half a century ago, now 60 years almost actually, probably over 60 when you read this review. Still the film also lives through the individual scenes, actually more through these than as one piece as a whole. I won#t mention all the scenes I am talking about this way, but I called some already. Other examples would of course be the really big sea animal at the end that brings all kinds of metaphors and symbolisms to the table or if we are talking about the very end already, same is true for the very beginning when we see Marcello up there in the helicopter who takes down the statue. He says on one occasion that he is a big shot with great connections to everybody who matters, like the Vatican too, and this opening scene is pretty much the best example. He is where the action is and there is always many attractive women surrounding him, again not to the liking of his fiancée. But it comes with the job I guess and his looks. Mastroianna sure gave a nice performance here too and I sometimes feel he is not getting the recognition really as he should for his acting in some of his works, especially the Fellini films. So overall, despite the decline in quality this was still a good movie and I was a bit surprised that I liked it a lot more than years ago when i saw it for the first time, so perhaps it really is a film that gets better as you grow older and perceive it differently. Who knows. I’m curious what my verdict will be perhaps at the age of 50 if I decide to watch it again then. And if I maybe also like that party scene towards the end then that honestly now did really do nothing for me at all. We will see. But for now, it is enough maybe for at least the next 5-6 years because there is just so much interesting other stuff to (re)watch, let alone all the new quality films coming out. This one here gets a thumbs-up from me, but not an enthusiastic one. If you aren’t thrilled be the first hour, then maybe skip the rest. It’s only going downhill from there.
I didn’t care very much for this movie while I was watching it, but while taking a walk and thinking about it right after, I was able to discern the picture’s message, even if it wasn’t a very uplifting one. It seems like Fellini was going for alienation and a search for meaning, and without knowing anything about the director, I would venture to say that the picture was autobiographical to a large degree. I could be totally off base, but that’s the impression I got.
Most of the characters in the story are fairly pathetic, including the principal player Marcello (Marcello Mastroianni). They engage in self absorbed, hedonistic behavior, living only for today with little regard for anything other than self gratification. The exceedingly fleeting nature of fame and notoriety is given short shrift with the frantic buzzing of the paparazzo running around in circles trying to capture the next big headline or lurid photo for their tabloids. So it comes as a shock when the one seemingly serious character in the story, Steiner (Alain Cuny), proves to be the one who can’t cope with his life of achievement and intellectual pursuit and ends it in tragedy. All rather depressing if you think about it.
I guess the main thing that bothered me while watching the story was how random Marcello’s day to day encounters turned out to be. There didn’t seem to be a sense of continuity to his life and maybe that was the point. Unable to find fulfillment in his relationship with Emma (Yvonne Furneaux), Marcello simply bounced around accepting whatever life handed him on a particular day instead of seeking out something meaningful.
The one character that I was able to identify with most was the young working girl in the café who didn’t want to be there. At least she had a purpose in her situation, it was to get out of there when her father finished his job. I got the idea that she might have been smitten by Marcello’s attention in complimenting her, which is why I was left somewhat dismayed when she waved to him near the end of the story while standing on the beach. I replayed it a couple of times, and it looked like she was mouthing ‘love you’ to Marcello, though of course he was too far away to see or hear her. For her to connect with Marcello would have been an unintended consequence waiting to turn into another hopeless situation if that were to happen.