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© DR - LA DOLCE VITA de F.Fellini (1960) p57
10/12/2012 08:00
Roger.Ebert(4)
His pursuit ends at dawn when she wades into the Trevi Fountain and he wades after her, idealizing her into all women, into The Woman; she remains forever just out of reach.This sequence can be paired with a later one where children report a vision of the Virgin. Marcello races to the site, which is surrounded by TV cameras and a crowd of the devout.Again,we have an idealized woman and the hope that she can solve every problem. But the children lead the faithful on a chase, just as the Ekberg led Marcello around Rome. They see the Virgin here, and then there, as the lame and the blind hobble after them and their grandfather cadges for tips. Once again everything collapses in an exhausted dawn.
The central episodes in "La Dolce Vita" involve Steiner, who represents all that Marcello envies. Steiner lives in an apartment filled with art. He presides over a salon of poets, folk singers, intellectuals. He has a beautiful wife and two perfect children. When Marcello sees him entering a church, they ascend to the organ loft and Steiner plays Bach while urging Marcello to have more faith in himself, and finish that book. Then follows the night of Steiner's party, and the moment (more or less the exact center of the film) where Marcello takes his typewriter to a country trattoria and tries to write. Then comes the terrible second Steiner scene, when Marcello discovers that Steiner's serenity was made from a tissue of lies.
To mention these scenes is to be reminded of how many other great moments this rich film contains. The echo chamber. The Mass at dawn. The final desperate orgy. And of course the touching sequence with Marcello's father (Annibale Ninchi), a traveling salesman who joins Marcello on a tour of the night. In a club they see a sad-faced clown (Poidor) lead a lonely balloon out of the room with his trumpet. And Marcello's father, filled with the courage of champagne, grows bold with a young woman who owes Marcello a favor- only to fall ill and leave, gray and ashen, again at dawn.
*
The movie is made with boundless energy. Fellini stood here at the dividing point between the neorealism of his earlier films (like "La Strada") and the carnival visuals of his extravagant later ones ("Juliet of the Spirits," "Amarcord"). His autobiographical "8 1/2," made three years after "La Dolce Vita," is a companion-piece, but more knowing: There the hero is already a filmmaker, but here he is a young newspaperman on the make.
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© DR - LA DOLCE VITA de F.Fellini (1960) p58
10/12/2012 08:11
Roger Ebert (fin)
The music by Nino Rota is of a perfect piece with the material. It is sometimes quasi-liturgical, sometimes jazz, sometimes rock; lurking beneath is the irreverence of tuba and accordions, and snatches of pop songs ("Stormy Weather" and even "Jingle Bells"). The characters are forever in motion, and Rota gives them music for their processions and parades.The casting is all typecasting. Anita Ekberg might not have been much of an actress, but she was the only person who could play herself. Lex Barker, a onetime movie Tarzan, was droll as her alcoholic boyfriend.
Alain Cuny's severe self-confidence as Steiner is convincing, which is why his end is a shock. And remember Anouk Aimee, her dark glasses concealing a black eye; the practical, commonsensical Adriana Moneta as the streetwalker; Alan Dijon as the satanic ringleader at the nightclub; and always Mastroianni, his eyes squinting against a headache or a deeper ache of the soul. He was always a passive actor, and here that quality is needed: Seeking happiness but unable to take the steps to find it, he spends his nights in endless aimless searching, trying to please everyone, the juggler with more balls than skills.
*
Movies do not change, but their viewers do. When I saw "La Dolce Vita" in 1960, I was an adolescent for whom "the sweet life" represented everything I dreamed of: sin, exotic European glamour, the weary romance of the cynical newspaperman. When I saw it again, around 1970, I was living in a version of Marcello's world; Chicago's North Avenue was not the Via Veneto, but at 3 a.m. the denizens were just as colorful, and I was about Marcello's age.When I saw the movie around 1980, Marcello was the same age, but I was 10 years older, had stopped drinking, and saw him not as a role model but as a victim, condemned to an endless search for happiness that could never be found, not that way.
*
By 1991, when I analyzed the film a frame at a time at the University of Colorado, Marcello seemed younger still, and while I had once admired and then criticized him, now I pitied and loved him. And when I saw the movie right after Mastroianni died, I thought that Fellini and Marcello had taken a moment of discovery and made it immortal. There may be no such thing as the sweet life. But it is necessary to find that out for yourself.
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© DR - LA DOLCE VITA de F.Fellini (1960) p59
10/12/2012 08:16
...C'est la jeune fille du restaurant Arcobaleno qui l'interpelle.
Séparé d'elle par l'embouchure d'une petite rivière,
Marcello préfère feindre ne pouvoir comprendre ce qu'elle dit et lui tourne le dos
pour rejoindre le groupe des fêtards.
Le film se termine sur un gros plan du visage de la jeune fille,
qui tourne lentement vers la caméra un sourire navré.
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© DR -LA DOLCE VITA p60/-Bio / filmo d'Anita Ekberg
10/12/2012 08:43
Anita Ekberg,
de son vrai nom Kerstin Anita Marianne Ekberg
est un mannequin et une actrice suédoise,
née le 29 septembre 1931 à Malmö.
Biographie
Dotée d'une plastique dite "spectaculaire "(Bob Hope écrira à propos d'elle que ses parents mériteraient le Prix Nobel d'architecture), Elle reste dans la mémoire des cinéphiles pour la fameuse scène du bain dans la fontaine de Trevi, à Rome, dans le film La dolce vita de Federico Fellini ou pour son rôle de modèle vantant les mérites du lait sur un panneau publicitaire dans La Tentation du docteur Antonio, un sketch du film Boccace 70.
Élue Miss Suède en 1950, Anita Ekberg échoue au concours de Miss Univers, mais signe un contrat de mannequin aux États-Unis. Elle débute pour les studios Universal dans des rôles mineurs.Le 22 mai 1956, Anita Ekberg se marie à Florence avec l'acteur britannique Anthony Steel. Ils divorceront en 1959, et Steel se remariera en 1964 avec Hannerl Melcher (Miss Autriche 1957).
*
Après cinq années à Hollywood, elle tourne en Italie dans La dolce vita, film de Federico Fellini qui lance véritablement sa carrière. En novembre 1961, elle pose pour le magazine Playboy. Le 9 avril 1963, elle épouse l'acteur Rik Van Nutter à Viganello (Suisse), dont elle divorcera en 1970.En 1987, Anita Ekberg joue son propre rôle dans Intervista, de Fellini, confirmant ainsi les propos de Roger Ebert, critique de film, qui écrivit un jour qu'Anita Ekberg « était la seule personne capable de jouer son personnage ».
En 2011, l'actrice vit dans une maison pour personnes âgées et n'est plus visitée que par quelques voisins et les services sociaux. Dans le besoin, elle doit demander une aide financière à la fondation Federico Fellini.
Filmographie/Cinéma
1953 : Deux nigauds chez Vénus (Abbott and Costello Go to Mars) de Charles Lamont : La garde vénusienne
1953 : Le Gentilhomme de la Louisiane (The Mississippi Gambler), de Rudolph Maté : Une domestique
1953 : La Légende de l'épée magique (The Golden Blade), de Nathan Juran
1955 : L'Allée sanglante (Blood Alley) de William A. Wellman : Wei Ling
1955 : Artistes et Modèles (Artists and Models), de Frank Tashlin : Anita
1956 : Un vrai cinglé de cinéma (Hollywood or Bust), de Frank Tashlin : Anita
1956 : Guerre et paix (War and Peace), de King Vidor : Helena Kuragina
1956 : Man in the Vault : Flo Randall
1956 : Les Échappés du néant (Back from Eternity), de John Farrow : Rena
1957 : Zarak le valeureux de Terence Young : Salma
1957 : Police internationale (Interpol) : Gina Broger
1957 : Valérie : Valérie Horvat
1958 : Signes particuliers : néant (The Man Inside), de John Gilling : Trudie Hall
1958 : À Paris tous les deux (Paris Holiday) de Gerd Oswald : Zara
1958 : Screaming Mimi de Gerd Oswald : Virgina Wilson/Yolanda Lange
1959 : Sous le signe de Rome (Nel segno di Roma), de Guido Brignone : Zenobia, reine de Palmire
1960 : La dolce vita de Federico Fellini : Sylvia
1960 : Les trois etc. du colonel (Le Tre Eccetera Del Colennello) : Georgina
1960 : Le dernier train de Shanghai (Apocalisse Sul Fiume Giallo) : Miss Dorothy Simmons
1961 : Les Mongols (I Mongoli), de André De Toth et Leopoldo Savona : Hulina
1961 : A porte chiuse de Dino Risi : Olga Duvovich
1962 : Boccace 70 (Boccaccio '70), de Federico Fellini et Luchino Visconti : Anita
1963 : Quatre du Texas (4 for Texas), de Robert Aldrich : Elya Carlson
1963 : Appelez-moi chef (Call me Bwana), de Gordon Douglas : Luba
1964 : Lo que el sexo se llevó de Massimo Mida
1965 : ABC contre Hercule Poirot (The Alphabet Murders) : Amanda Béatrice Cross
1965 : Belles d'un soir (Das Liebekarussell) : Lolita Young
1966 : Comment j'ai appris à aimer les femmes de Luciano Salce : Margaret Joyce
1966 : Tiens bon la rampe, Jerry (Way... Way Out), de Gordon Douglas : Anna Soblova
1966 : Scusi, lei è favorevole o contrario ? d'Alberto Sordi : Baronne Olga
1967 : Sept fois femme (Woman Times Seven) de Vittorio De Sica : Claudia
1967 : Le Cobra de Mario Sequi : Lou
1967 : La Sfinge d'Oro : Paulette
1968 : Cronica de un Atraco : Bessie
1969 : Mardi, c'est donc la Belgique de Mel Ferrer et Mel Stuart : Interprète
1969 : La Mort sonne deux fois (Blonde Köder für den Mörder), de Harald Philipp : Sophia Ferretti
1969 : Malenka d'Amando de Ossorio : Malenka/Sylvia Morel
1969 : Un Sudario a la medida de José Maria Elorrieta : Jacqueline Monnard
1970 : Le divorce (Il Divorzio) : Flavia
1972 : La Longue Chevauchée de la vengeance de Tanio Boccia : Jane
1972 : Northeast of Seoul : Katherine
1978 : La Petite Sœur du diable (Suor Omicidi), de Giulio Berruti : Sœur Gertrude
1980 : Nom de code: S.H.E. : Dr. Else Biebling
1982 : Cicciabomba : Baronne Judith von Kemp
1987 : Intervista de Federico Fellini : Elle-même
1991 : Il Conte Max : Marika
1992 : Ambrogio : Clarice
1997 : Bambola de Bigas Luna : Mamma Greta
1998 : Le Nain rouge de Yvan Le Moine : Paolo Bendoni
*
Télévision
1953 : Private Secretary (Série TV) : La tueuse
1955 : Casablanca (Série TV) : Katrina Jorgenson
1979 : L'or des Amazones (Gold of the Amazon Women) (Téléfilm) : Reine Na-Eela
1988 : Quando Ancora Non C'erano i Beatles (Téléfilm) : La pianiste
1996 : La Signora Della Citta (Téléfilm)
2002 : Il Bello Delle Donne (Série TV) : Ingrid
Récompenses
1955 : Golden Globe Award (meilleure espoir féminin) dans le film L'Allée sanglante (Blood Alley) de William A. Wellman.
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© DR - LA DOLCE VITA de F.Fellini (1960) fin
10/12/2012 08:57
L'histoire ne dit pas ce qu'il adviendra de Marcello.
Il va probablement poursuivre sa vie de journaliste semi mondain
et continuer les nuits de fêtes encore quelque temps...
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