Fellini, arguably considered one of Italy’s greatest directors, blended the art of personal expression with fantasy and dreams. Fellini’s is able to tackle the issue of humanity’s struggle for identity and our reason for living. His surrealistic approach to filmmaking has reserved his place in film history; inspiring other directors to respectively cite from his acclaimed films.
La Strada explores the soul’s eternal conflict between the heart and mind. It a film full of visual imagery-- with the assistance of dramatic camera angles and beautifully composed shots. We follow the “relationship” of a carnival strongman, Zampano and his assistant, Gelsomina. Zampano is actually a pretty rotten person—constantly demoralizing and abusing her. Her innocence and weak-mindedness is no match for his dominance and so she just puts up with it without question. Fortunately, the films protagonist is a kind and gentle clown that sees Gemsomina’s situation and wants her to leave Zampano. Through a series of pranks-- driven with an underlying malice by the clown to the strongman—leads us to the climax of the story, which ends in despair and tragedy.
8 ½ is an autobiographical portrayal of Fellini’s personal life; through a visually stunning landscape of the subconscious. But it is also an indelible image that shatters any preconceived illusion of "typical" elements in a Fellini film. The 8 ½ is a “symbol” for his artistic transition, in which the subtle forms and religious iconography of his earlier films have been replaced by specifically composed and exaggerated, hyperbolic imagery, which was to become his signature, “Felliniesque” style. This novel is an introspective journey about Guido Anselmi (Marcello Mastroianni), a successful film director who takes a holiday at an exclusive health spa in order to overcome a creative dry spell. But Guido appears to be narcissistic and self-indulgent, preferring to spend his time chatting with wealthy resort patrons and arranging trysts with his oversexed mistress, Carla, than actually spending the time to formulate ideas for his next film. He begins to lead a life of excess instead of undergoing physical (and psychological) cleansing and purification. And, unable to derive inspiration from his chaotic environment, he immerses himself in the distraction of childhood memories and indulgent fantasies. Including conversing with an emotionally inaccessible father, and reciting the magic words to a hidden treasure. In essence, Guido is searching for balance: between childhood traumas and idealism, the sensual and the intellectual, artistic integrity and commercial success. Inevitably, Guido is as much a reflection of Fellini as he is of ourselves: striving for greatness, only to achieve the ordinary and familiar... with episodes of momentary abstraction in between.
La Dolce Vita is a film that defined society as abrasive and legitimately through the creative psyche of Fellini. The story is about a frustrate writer, who is reduced to tabloid journalism in order to make ends meet. He spends each evening in “Via Veneto” (the venerable hotspot for people who want to be seen). Vicariously awaiting the next scandal, party invitation, or even a sexual proposition. Although his nights are spent with different women, in which there he experiences fleeting happiness, he is still consumed with self-doubt; unable to fully enjoy his success. Then he finds himself caught up in a hubbub spectacle of a false sighting of the Virgin Mary. Fellini takes advantage of the visual use of stairs as a way to not only allow the characters to transition from scenes, but to help us as the viewer transition as well. Such as the decent to the prostitutes flooded basement apartment, the climb to the church tower, and the walk to the public fountain. Lastly, it’s interesting that the film begins and ends with the same incident, where Marcello, unable to hear the cryptic message, returns to “his distraction” (perhaps still dreaming of attaining the “sweet life”).
No comments:
Post a Comment