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© DR - Fellini - GIULIETTA DEGLI SPIRITI (1965) p6
16/12/2012 05:02
Autour du film
Après l'avoir dirigée 5 fois au cours des années 50 dans Les Feux du music-hall (Luci del varietà), Courrier du cœur ou Le Cheik blanc (Lo sceicco bianco), La Strada, Il Bidone et Les Nuits de Cabiria (Le Notti di Cabiria), c'est la seule fois au cours des années 60 que Fellini place devant la caméra son épouse Giuletta Masina.(une fois de trop !) Il faudra attendre 20 ans avant la fois suivante, et ultime(ouf!), dans Ginger et Fred (Ginger e Fred) (1986)....Mwoui ben je déteste ce film
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La critique du Monde (Loeil sur l'écran)
Lui :
Tourné après 8 ½, Juliette des esprits est en quelque sorte son pendant : après l’homme, c’est au tour de la femme. Guilietta découvre soudainement que son mari la trompe et va entreprendre un cheminement intérieur pour trouver un nouvel équilibre. Pour se libérer de son carcan, elle devra faire ressurgir les angoisses, les oppressions familiales qui l’ont marquée mais aussi ses rêves et aspirations. C’est l’occasion pour Fellini de créer à nouveau un spectacle bariolé et haut en couleur où il crée des tableaux avec moult personnages très typés. On pourra sans doute objecter qu’il s’agit plutôt du portrait intérieur d’une femme telle que le voit un homme.
C’est le premier long métrage en couleurs du cinéaste et il utilise beaucoup le blanc et le rouge, et aussi le vert (ce sont les trois couleurs du drapeau italien…) Les costumes sont assez exubérants (avec une mention spéciale pour les chapeaux!) et la maison de poupée de Guilietta tranche joliment avec le délire visuel qu’offre la maison de sa voisine avec ses fêtes pseudo-païennes. Le rôle principal est tenu par la propre femme de Fellini qui adopte un jeu très terne, probablement à la demande du cinéaste. Juliette des esprits a plutôt été mal accueilli à sa sortie et il reste sans doute un peu sous-estimé. Tout au plus, peut-on l'accuser de quelques longueurs...Note : 3 sur 5
30 septembre 2010
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© DR - Fellini - GIULIETTA DEGLI SPIRITI (1965) p7
16/12/2012 05:09
Autour du film
Federico Fellini a prétendu avoir pris du LSD pour préparer son film.« Le réalisme est un mauvais mot. Dans un sens, tout est réaliste. Je vois mal la frontière de l'imaginaire et du réel. Je vois beaucoup de réalité dans l'imaginaire. Je ne me sens pas chargé de mettre de l'ordre dans tout ça, sur un plan rationnel. Je suis capable d'émerveillement,indéfiniment et je ne vois pas pourquoi je devrais placer une grille pseudo-rationnelle devant cet émerveillement. »
Federico Fellini, interview donnée aux Cahiers du Cinéma, n°164, mars 1965
Critique de presse frenchy(suite)
Arts
« Huit et demi était un autoportrait intime et un message de créateur. Le film fit couler beaucoup d’encre. Giulietta degli spiriti en fera verser encore plus, car Fellini a été encore plus loin dans ses recherches formelles. C’et un portrait, très libre sans doute, mais peut-être d’autant plus vrai, de sa femme, la Masina (…). Un film de femme, œuvre de mystère et de rêves, œuvre de poète ».
Paul Gilles, 23/12/1964
L’Aurore
« Quand un artiste se sert de la couleur au cinéma, quelle réussite ! Bravo ! Juliette des esprits est l’œuvre d’un peintre surréaliste (..)C’est une mosaïque où l’auteur livre son âme par le truchement de personnages artificiels évoluant dans des décors irréels ».
Claude Garson, 22/10/1965
Le Canard Enchaîné
« Fellini se déchaîne, son délire fastueux, baroque, multicolore, monstrueux, quelque fois délicat et savoureux s’étale sur l’écran. C’et un grand virtuose, un peu tzigane. D’autres que moi vous diront que c’est un grand penseur. Il a un bagout d’images absolument extraordinaire. Je l’aimais mieux au temps de La Strada et des Nuits de Cabiria. Mais, depuis, il travaille et se répète dans le génie ».
Michel Duran, 03/11/1965
La Croix
« Mais où commencent, ici, le propre et le figuré ? Tout le problème est là, je veux dire : tout le film, le film délirant, merveilleux, inquiétant, éperdument baroque de Federico Fellini (…). Ce carnaval de sensations, cette dolce vita à laquelle se livrent les couleurs du prisme est souvent déroutante, agaçante même. Mais elle et, plus souvent encore, criante de beauté. Rarement film n’aura donné à ce point l’impression physique d’avoir été écrit, je devrais dire peint, directement avec des images, sans dessin préalable, dans l’enthousiasme orgiaque d’un peintre fou ».
Henry Rabine, 30/10/1965
L’Express
« Fellini prétend que, pour tourner ce film, il s’est arraché l’œil droit, celui qui voit la réalité, et qu’il n’a travaillé qu’avec l’œil gauche, celui qui, au-delà de la réalité, voit la magie des choses. Certains penseront, en effet, que Juliette des Esprits est le film d’un infirme, et qu’en se privant d’un œil, il a singulièrement restreint le champ de sa vision. Mais l’opération a encore renforcé l’acuité du regard. Le cinéma a besoin d’être, de temps à autre, irrigué par le puissant courant de fantaisie baroque, de fantastique débridé qu’illustre Juliette. Divisés sur la portée du film et la richesse de son héroïne, les spectateurs se retrouveront unanimes pour s’extasier devant l’époustouflant kaléidoscope du spectacle ».
Pierre Billard, 18/10/1965
Le Figaro
« Naturellement, vous aurez compris que Juliette des Esprits ne constitue pas un modèle de cinéma facile. Mais des millions de kilomètres séparent ce cinéma-là du cinéma bégayeur baptisé Nouvelle Vague. On éprouve un sentiment de bonheur quand l’art expérimental se trouve entre les mains d’un homme expérimenté. Fellini, par surcroît, est un auteur de grande intelligence dont la pensée touche souvent au génie ».
Louis Chauvet, 20/10/1965
France Soir
« Fellini est un magicien qui voit et montre la vie à travers le prisme déformant d’une imagination délirante (…). Les prises de vue, les décors et les costumes souvent caricaturaux sont remarquables. La musique souligne avec élégance que le monde est un cirque où les hommes jouent les funambules. Mais tout et tous sont dominés par Fellini, auteur complet et l’un des rares cinéastes pour qui l’on puisse parler de génie sans que cela soit ridicule ».
Robert Chazal, 29/10/1966
L’Humanité
« Est-il nécessaire d’expliquer ? Faut-il vraiment comprendre ? Y a-t-il seulement un trousseau de clés qui soit capable de nous ouvrir toutes les portes mystérieuses de Juliette des Esprits ? Est-ce un film d’une absolue sincérité ou une plaisanterie bouffonne ? Il comporte certainement une part de chaque. En tous cas, c’est du cirque, et quand je dis ça, c’est parce que j’aime le cirque ! (…) Fellini ne nous demande pas de comprendre immédiatement. Il se contente de nous fasciner, nous subjuguer, nous bercer d’illusion. En magicien merveilleux, il y parvient et nous ne pouvons échapper à son charme ».
Samuel Lachize, 23/10/1965
Télérama
« Etonnant Fellini ! Vrai continuateur du théâtre et des peintres baroques aux créations tumultueuses, il reprend les thèmes de La Dolce vita, mariés au délire savamment organisé de Huit et demi. Toutefois, il tient à nous les présenter ici à travers les yeux non plus d’un homme, son porte-parole, mais de sa propre femme, Giulietta Masina (…). Ici, le surréalisme est à l’état pur, mais il n’en inspire pas moins tout le reste ».
Jean d’Yvoire, 07/11/1965
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© DR - Fellini - GIULIETTA DEGLI SPIRITI (1965) p8
16/12/2012 05:13
8 1/2 In Drag
Author: Joseph Sylvers from United States
12 December 2007
Really sort of the female counter part to 8 1/2, It had the same sort of dream/memory/fantasy narrative, and the same sprawling dialogue and humor, the biggest difference was this was about relationships and sexual repression and freedom, had a female lead and was in technicolor, which Fellini really makes great use of, it adds a kelidoscopic psychedelic feel to the whole movie. There really are some amazing visuals and all the dialoge is superb. Though I guess its not so much a female 8 1/2 as it is a caricature of a marriage during the sexual revolution , but it's still a funny and poignant one. Great performances and memory dialog; the sexual revolution as a circus.
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8 out of 12 people found the following review useful:
Juliet is a Delight!
Author: katrowellpa from Tennessee
11 September 2006
I loved this movie. For me, as a relatively new student of Fellini, I understand that there is a progression in his films over the years. His initial films are more generally coherent stories like "La Strada" and then his later films are more focused on the visual and surreal, like "8 1/2".This movie is somewhere in between. There is the coherent storyline of Juliet and her philandering husband and all the other strange characters in her life, like family and friends, but then there is also the psychedelic and surreal element of the spirit world that Juliet is in close contact with everyday.Masina is great as usual--she acts a lot just with her eyes and the expressions on her face.(Mais quelles expressions?)This film is just a delight. My suggestion is that you don't try to analyze it too deeply. Just sit back and let the colors, settings, costumes, and larger than life characters wash over you.
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© DR - Fellini - GIULIETTA DEGLI SPIRITI (1965) p9
16/12/2012 05:24
Sandra Milo
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I AM your lover, I AM your zero, I AM the face in your dreams of glass*
Author: TheAnimalMother from your daughters bedroom
8 February 2010
A reincarnation of the Buddha is said to have described himself as being, "like the moon upon the water...a reflection. Think of me as your self." He said. Many ancient sages have spoke and been written of seeing The One, the holy God of eternity while looking, gazing, or meditating into a river or pond. For just as God separated the light from the darkness. Fellini too has created his own deep symbolic reflections of the Unfathomable One. Some say that this film, 'Giullietta degli spiriti' is the feminine partner of Federico's previous film 8 1/2. 'An Ode To No One', and 'An Ode To One'. Like two mirrors, the two films reflect the Eternal Lovers in Their breaking, and in Their embrace.
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Fellini's dialogue and metaphors show a great understanding of The Self, The Divine Marriage, The Sacred Mystery. Fellini is one of the few modern artists who greatly understood the purpose and very nature of art itself. All art imitates life, sure, but human life also is merely an interpretation of that which is truly real. It is obvious by Fellini's work that he himself created his art in order to become more real, to become closer to truth. He created in order to see with more depth and to share this with others. Fellini undoubtedly understood the logic in the seemingly illogical words of the great William Blake when he said "If the doors of perception were truly cleansed, everything would appear as it truly is - infinite.". Fellini understood that all art imitates life, but even more so, he understood that all art imitates the Divine.
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He also understood that only through this kind of introspection can one become closer and closer to our own True Infinite Nature. People who do not follow spiritual disciplines, or who do not know the work of Carl Jung, or who do not have a good understanding of ancient sacred scripture, will likely miss much of the depth in this film. However that is not to say that those people still won't enjoy it. This is the work of a Divinely inspired genius. Some watch this film and are dazzled by the great colour and flamboyant spectacle of it (And why wouldn't you be?), however truly it is the interweaving of dialogue and relationships that speak even louder than the amazing visuals. "For those who have ears, let them hear!"
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© DR - Fellini - GIULIETTA DEGLI SPIRITI (1965) p10
16/12/2012 05:32
Fellini's deepest dreams
Author: Dr.Mike from Chicago, IL
17 January 2000
Juliet of the Spirits has become one of my favorite Fellini films. The story involves a woman who discovers that her husband is cheating on her. The forces of family, tradition, the church, and an immoral society all pull at her and force her to make a difficult decision. These forces would be banal in a standard film but Fellini chooses to visualize them as images and dreams. The dream sequences are nearly perfect and create a sharp sense of the hazy logic and unreality of dreams. Other comments (as well as our friend Maltin) have noted that the symbolic nature of the film is a detriment.
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This is true only if you are constrained by reality and demand that film adhere to the rules you have set down (or more likely had set down for you). Taking the journey with this film is well worth the time and effort. I hesitate to state that a male director has successfully penetrated the inner desires of a woman, but in this case I think Fellini has at least come close to the mark. A film to be looked at, talked about, and enjoyed again and again.
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10 out of 13 people found the following review useful:
Fantasy informing and transforming reality.
Author: Kara Dahl Russell from United States
10 April 2007
One of Fellini's most accessible films (his use of color really helps), he once again plays reality against an active fantasy life... fantasies that combine memory, fears, fleeting desires and the way we imagine the lives of others. For me, one of the things that makes a film 10 star is that it provides something that only film can provide, and this is it; while the presentation is very theatrical, this quick intercutting of time/memory/mood can only be done in film.
While the overall message is a very conservative (pre/anti-feminist) one of it's day, Fellini DOES liberate a woman's fantasy life, and this is the essence of his leading "little woman." The predominant action of the film is in her imagination. This was the day when middle/upper class Italian women did not work, and Masina represents the "good little woman." Rich enough to have servants, there was little to occupy her time or mind, other than similar friends who have veered to the outre and weird just to have something to do. Masina's character searches more internally, and her fantasies color her vision of the lives of others. (Note that her usual circle of friends are equated with a fantasy of death, and you'll be clued into her psyche as these begin.)
I think you have to have lived a bit to "get" Fellini - I didn't like his work when I was younger - I love this. Also note his use of color as "percieved color" not literal color and this is worth many viewings. And finally, if you are a larger woman... nothing makes you feel so great about being a large woman as watching Fellini's glorious Amazons!
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15 out of 23 people found the following review useful:
There are movies and there is Fellini!
Author: vdg from Vancouver, Canada
15 February 2004
No spoilers here, just a simple feeling that I have every time I see a FELINI movie: "There are movies and there is Fellini" This is an art film, as most of Fellini's movies, so I wont try to explain or comment anything on it, everybody has to have his own vision about the movie. Don't try to explain everything, don't try to see flaws in the screenplay, just take it the way it is: a beautiful fantasy. YES, it is very pretentious, if you don't like it or if you don't understand it that means this movies want not meant for you, but for the rest of us! The Criterion version of this movie is pure perfection, even though the 1 channel sound is not enough to get the full experience of this masterpiece. You'll love it or you'll hate it, there is nothing between!(Ben moi j'aime presque tout sauf Massina)
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5 out of 5 people found the following review useful:
35mm restoration, brilliant in color and Fellini style.
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Author: Melanie Ramsay from Chicago
9 August 2001
This is the first Fellini movie I ever saw and I just recently viewed the 35mm restored re-release. How beautiful. Fellini captures such wonderful dream-like sequences in brilliant color. Phenomenal! Every scene had such a distinct personality and mood to it. His blend of high and low key lighting, especially in the exposition carries the storyline.
Giulietta's associated score is disturbing yet intriguing. The wardrobe and makeup department must have had lots of fun on this film. If you have yet to see a Fellini movie, I suggest this one. A bit creepy, a bit weird, but nonetheless it has a purpose. A tight narrative.
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