|
|
|
|
|
|
© DR - LA DOLCE VITA de F.Fellini (1960) p52
10/12/2012 07:31
La soirée se termine par une orgie.
Questionné par des invités sur ses ambitions littéraires passées,
Marcello revendique le choix de la déchéance.
| |
|
|
|
|
|
|
|
© DR - LA DOLCE VITA de F.Fellini (1960) p53
10/12/2012 07:45
The final scene
Author: ryanmb84 from United States
27 April 2006
I have appreciated the comments made above but the half dozen I read all missed something. Referring to the final scence people liken it to how hallow life in Rome was during that time period. I appreciate this interp, however this is only part of it. to focus on that is too miss the internal element. The fish in the last scene is symbolic of Christianity, the beautiful women in the distance is his calling. She is the embodiment of innonence and purity, to receive his call would not be just a different lifestyle, it would be a rejection of all the old for a new life. But he cannot hear it or cannot accept it. He is exhausted. He has chased to many callings.His conscious is seared, he has become hardened by life, all he can muster is a smile and then to turn his back. And what has she lost, nothing, she goes on all the same, only momentarly disheartened. It is an incredibly beautiful and romantic self-destruction.
| |
|
|
|
|
|
|
|
© DR - LA DOLCE VITA de F.Fellini (1960) p54
10/12/2012 07:49
La critique de Roger Ebert (Part1)
January 5, 1997
I have heard theories that Federico Fellini's "La Dolce Vita" catalogs the seven deadly sins, takes place on the seven hills of Rome, and involves seven nights and seven dawns, but I have never looked into them, because that would reduce the movie to a crossword puzzle. I prefer it as an allegory, a cautionary tale of a man without a center.Fellini shot the movie in 1959 on the Via Veneto, the Roman street of nightclubs, sidewalk cafes and the parade of the night.
*
His hero is a gossip columnist, Marcello, who chronicles "the sweet life" of fading aristocrats, second-rate movie stars, aging playboys and women of commerce. The role was played by Marcello Mastroianni, and now that his life has ended we can see that it was his most representative. The two Marcellos- character and actor -- flowed together into a handsome, weary, desperate man, who dreams of someday doing something good, but is trapped in a life of empty nights and lonely dawns.
| |
|
|
|
|
|
|
|
© DR - LA DOLCE VITA de F.Fellini (1960) p55
10/12/2012 07:53
La critique de Roger Ebert(2)
The movie leaps from one visual extravaganza to another, following Marcello as he chases down stories and women. He has a suicidal fiancee (Magali Noel) at home. In a nightclub, he picks up a promiscuous society beauty (Anouk Aimee), and together they visit the basement lair of a prostitute. The episode ends not in decadence but in sleep; we can never be sure that Marcello has had sex with anyone.Another dawn. And we begin to understand the film's structure: A series of nights and dawns, descents and ascents. Marcello goes down into subterranean nightclubs, hospital parking lots, the hooker's hovel and an ancient crypt. And he ascends St. Peter's dome, climbs to a choir loft, and to the high-rise apartment of Steiner (Alain Cuny), the intellectual who is his hero. He will even fly over Rome.
| |
|
|
|
|
|
|
|
© DR - LA DOLCE VITA de F.Fellini (1960) p56
10/12/2012 07:57
Nadia Gray
Roger.Ebert (3)
The famous opening scene, as a statue of Christ is carried above Rome by a helicopter, is matched with the close, in which fisherman on the beach find a sea monster in their nets.Two Christ symbols:the statue "beautiful"but false the fish"ugly"but real.During both scenes there are failures of communication The helicopter circles as Marcello tries to get the phone numbers of three sunbathing beauties. At the end, across a beach, he sees the shy girl he met one day when he went to the country in search of peace to write his novel.
*
She makes typing motions to remind him, but he does not remember, shrugs, and turns away.If the opening and closing scenes are symmetrical, so are many others, matching the sacred and profane and casting doubts on both. An early sequence finds Marcello covering the arrival in Rome of an improbably buxom movie star (Anita Ekberg), and consumed with desire. He follows her to the top of St. Peters, into the bowels of a nightclub, and into the Roman night, where wild dogs howl and she howls back.
| |
|
|
|
|
