Review of La Dolce Vita (1960) by Matthew M — 22 Jul 2009

Those who hope to watch a Fellini film must keep one thing in mind: be patient. Much like other Fellini films, the true point of "La Dolce Vita" doesn't really begin to grow until after the film is over.

This should really come to no surprise considering much of "Vita" is broken down into vignettes that have some linear relationship to each other, but are ultimately stand alone moments in the life of our main character.

This jumping narrative alone may scare some film goers away, but it is ultimately rewarding as Fellini gives us a glimpse at the fleet foot of fame and the pit it eventually leaves in one's soul. This is a rather timeless theme and if anything it applies more today then it did in 1960, where we have people far too concerned with getting that "money shot" photo of celebrity x or finding a connection with celebrity y whether it be through diet, appearance, or even actions.

All of this eventually leads people down a path where they are no longer living the life they had hoped, instead they're going day to day living vicariously through the particular celebrity whom they are chasing; becoming a shell of their former selves.

As found in the main character of Marcello (brilliantly constructed by Fellini regular Mastroianni) we see a man who wants to love, a man who wants to write a novel, and man who wants to be reputable in the eyes of the people.

Yet, his road to fame is not paved with his dreams. Instead its paved with trivial romances, bright lights and dim hearts. He is the equivalent of a dog chasing a car. Eventually, as demonstrated with a stunning implication of death and violence, and a party scene devoid of any self respect, Fellini shows us that a life is better lived when its our own, and not that of a person who's job is to be someone else.