Fellini's La Strada: a vision of masculinity and femininity that still haunts us today - The Local
The Artist and the Muse: Federico Fellini and Giulietta Masina. 12/31/ The show symbolizes a crossroads for Cabiria's relationships. Before it. A new digital restoration of Federico Fellini's La Strada, 60 years after it and simple, loving Gelsomina (Giulietta Masina) explores masculine. Masina, Giulietta (–)Award-winning Italian actress who earned international of her upcoming, if as yet unexpected, marriage to Federico Fellini —a marriage plagued not —Giulietta Masina, speaking of Federico Fellini . she had never actually seen the film but had been merely acting on the advice of lawyers.
Asked which film of the s made them cry, Italian respondents remember the tears shed in response to the closing scene of the film. Man's world It is perhaps no surprise that it was our female contributors who gave these longer responses and engaged most deeply with the plot. Perhaps the film also reflected their own experiences of a society in which men still very much had the brutal upper hand. Fellini himself said that an ill-defined feeling of guilt led him to make the film, and it is no secret that he did not make married life easy for Masina.
His perspective on femininity has caused controversy, as his more self-conscious reflections on how men fantasise about women led us to the vision of Anita Ekberg in the Trevi fountain in the spectacular La dolce vita and Guido's fantasy harem in the much more complex Eight and a Half These films do not feature Masina — but perhaps what makes La Strada so engaging is its own profound echoes of the Fellini-Masina partnership.
What it surely presents is a 20th-century, sadomasochistic vision of masculinity and femininity as anything but complementary, one that still haunts us today. This article was originally published on The Conversation. Read the original article. It was a role added by Fellini to the original script when Lattuada hired him as a collaborator. Marcella dreams of marrying an American GI and returning with him to the United Statesonly to have her hopes crushed in the conflicts arising from black-market trading in American arms supplies.
Masina's poignant performance, generally considered one of the finest in any Italian film of the immediate postwar period, earned her a Silver Ribbon for Best Supporting Actress, equivalent to an Oscar, at the Venice Film Festival. For his first solo directing effort, Fellini cast her in a small part at the end of the film in which, he later said, "she revealed herself capable of being a tragicomic mime in the tradition of Chaplin [and] Keaton.
The film told the story of a small band of traveling street performers, with Masina playing opposite two American actors, Anthony Quinn as the strongman Zampano and Richard Basehart as Il Matto.
Masina claimed many years later that she had introduced both men to Fellini there were rumors at the time that she and Basehart were lovers after they had fled a rigid Hollywood studio system to seek their fortunes as leading men in European cinema. The production was a challenge for all involved, since neither Masina nor Fellini spoke English, Quinn and Basehart spoke no Italian, and Fellini was required to shout and act out his direction during each take, in which the actors traded dialogue that none of them could understand the entire dialogue track was recreated on a dubbing stage afterward.
Gelsomina, a mime who becomes Zampano's ill-fated lover, had little dialogue, forcing Masina to convey the character through carefully considered movement and gesture which Fellini trusted her to work out for herself. His only direction to her, she later remembered, was to keep her mouth closed when she smiled.
Gelsomina became an extremely popular character in Italy.
Federico Fellini and Giulietta Masina
A Gelsomina Club was established in Naples, and Masina received bags filled with letters from Italian women who knew exactly what Gelsomina had felt near the end of the film when Zampano leaves her. La Strada was Fellini's first film to be released in America, bringing both director and actress an adoring new audience and an Academy Award as Best Foreign Film. Their next collaboration, however, was not as successful. Il Bidone The Swindle,in which Masina again played opposite Richard Basehart in addition to Broderick Crawford, was one of Fellini's rare attempts at realism and was not well received by audiences in Italy or the United Stateswhere it was not released until in a shorter version.
Masina admitted years later that she had talked Fellini into making the picture against his wishes, and close friends of the couple said the film's poor reception generated a good deal of resentment toward her on Fellini's part. An encounter during the filming of Il Bidone led to further professional tensions, even though it would ultimately produce a Best Actress award for Masina at the Cannes Film Festival.
One night during the shooting, Fellini spent considerable effort and energy calming the ruffled nerves of a Rome prostitute into whose neighborhood the cast and crew had intruded and who complained of losing business from the disturbance. Relations between husband and wife on the set of La Notti de Cabiria were far from cordial, marked with very public arguments, because Fellini sensed that "Gelsomina's fallen sister," as he called Cabiria, was the most important role of his wife's career to date.
As the conjugal waters calmed and the praise began building, Masina indirectly complimented Fellini for his creation.
Deciding that her marriage to Fellini was more important than a career as his starring actress, she refused his offer to appear in La Notte The Nighta role Fellini eventually gave to Jeanne Moreau. She also declined the leading role played by Daniella Rocca opposite Marcello Mastroianni in what would become one of the most successful Italian films of the early s, Divorzio all'italiana Divorce Italian Style.
Federico Fellini - Wikipedia
She often visited Fellini on the sets of his various pictures and was once likened by a Fellini associate to a political candidate's wife, "dutifully stumping. Her small face was almost hidden behind huge sunglasses. She took a chair and continued to smile at no one in particular. Giulietta degli spiriti Juliet of the Spirits was written expressly for her. From the start, she and Fellini differed violently over the interpretation of Fellini's middle-aged housewife who is driven into a world of hallucinatory fantasy by her husband's infidelities.
The character was closely modeled on Masina herself, Fellini having exploited her well-known superstitious fears and imagined her thoughts and reactions to his own rumored affairs with other women. The film wrapped August 15 on a deserted beach at Passo Oscuro with a bloated mutant fish designed by Piero Gherardi. At an exclusive Milan screening on 5 Februaryone outraged patron spat on Fellini while others hurled insults.
In one documented instance involving favourable reviews written by the Jesuits of San Fedele, defending La Dolce Vita had severe consequences. After meeting Jungian psychoanalyst Dr. What Fellini formerly accepted as "his extrasensory perceptions"  were now interpreted as psychic manifestations of the unconscious. Bernhard's focus on Jungian depth psychology proved to be the single greatest influence on Fellini's mature style and marked the turning point in his work from neorealism to filmmaking that was "primarily oneiric".
His second colour film, it was the sole project green-lighted at Federiz. Flaiano suggested La bella confusione literally The Beautiful Confusion as the movie's title. He hired cinematographer Gianni Di Venanzoamong key personnel. But apart from naming his hero Guido Anselmi, he still couldn't decide what his character did for a living.
Raising a toast to the crew, he "felt overwhelmed by shame… I was in a no exit situation. I was a director who wanted to make a film he no longer remembers. And lo and behold, at that very moment everything fell into place. I got straight to the heart of the film.
I would narrate everything that had been happening to me. I would make a film telling the story of a director who no longer knows what film he wanted to make". Perplexed by the seemingly chaotic, incessant improvisation on the set, Deena Boyer, the director's American press officer at the time, asked for a rationale.
Fellini told her that he hoped to convey the three levels "on which our minds live: Increasingly attracted to parapsychologyFellini met the Turin magician Gustavo Rol in All I perceived was perception itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment.
I was an instrument in a virtual world that constantly renewed its own meaningless image in a living world that was itself perceived outside of nature. And since the appearance of things was no longer definitive but limitless, this paradisiacal awareness freed me from the reality external to my self. The fire and the rose, as it were, became one. Her sexually voracious next door neighbor Suzy Sandra Milo introduces Juliet to a world of uninhibited sensuality but Juliet is haunted by childhood memories of her Catholic guilt and a teenaged friend who committed suicide.
Complex and filled with psychological symbolism, the film is set to a jaunty score by Nino Rota. He also met with film director Paul Mazursky who wanted to star him alongside Donald Sutherland in his new film, Alex in Wonderland. But today all is temporary, disordered, grotesque.
Who can still laugh at clowns? All the world plays a clown now. Loosely based on the director's autobiographical essay My Rimini,  the film depicts the adolescent Titta and his friends working out their sexual frustrations against the religious and Fascist backdrop of a provincial town in Italy during the s.
Produced by Franco Cristaldithe seriocomic movie became Fellini's second biggest commercial success after La Dolce Vita. It should be more like a poem with metre and cadence. Under the title, I disegni di Fellini Fellini's Designshe published drawings executed in pencil, watercolours, and felt pens. Producer Alberto Grimaldiprepared to buy film rights to all of Castaneda's work, then paid for pre-production research taking Fellini and his entourage from Rome to Los Angeles and the jungles of Mexico in October