En bas de l'affiche: Caterina Boratto (la mère)

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Though at age 15, I shouldn't have been able to relate very well with this story of an Italian middle-aged woman and her crumbling psyche (what with her failing marriage, her unsympathetic relatives and her repressive childhood), the movie made me care about this woman and showed me sights on film that I'd never seen before.Masina (Fellini's wife), in her performance, has nearly everything to do with making Juliet's story meaningful, even to a teenaged boy in California. The character's thoughts flash, unspoken, across her face. Her fear, herbemusement, her insecurities--all are writ in italics and I had no trouble empathizing with Juliet.

Fellini, though, makes the film an occasion to witness how far the medium can go in bringing alive a person's inner life. The weird and awful power of (subjective) memory, the dream state, the spectres of loneliness, betrayal and Catholic mythology: all these and more overtake the screen, dominate the imagery and play the antagonists to Juliet who, as seen by the other "real" characters in the story, is just a simple, loving housewife and neighbor. Juliet finally has to face her demons and either vanquish them or go mad. By the end of the film, we know most of her demons, where they came from, whom they represent and what they mean. What an accomplishment!

In a clinical setting, Fellini dropped LSD around the time he concocted this film. That may be one reason the movie is so psychedelic. This also was his first feature in color. The music is unforgettable. Costumes should have won the Oscar, but that honor went to "Man for all Seasons".(que j'ai vu et dont il ne me reste absolument aucun souvenir)Incidentally, I've bought and viewed the DVD of this movie. It's quite washed-out and not as good as an available VHS letterboxed version.I'll always miss Fellini, but am so grateful that he was able to make this film and over a dozen others.

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