Review of La Strada (1954) by Kevin M — 29 Apr 2009

Another one o' them depressing neorealist pictures with the pretty photography and the stories about dignity in the face of degradation. Here's Fellini in his rawest, most accessible form, before he became obsessed with his own cleverness and gave in to heedless experimentation. A pared down script, involving a silly girl getting sold to a circus strongman, uses the traveling carnival as an obvious metaphor (for the drudgery of work), which contrasts rather nicely with the fantastical "reality defying" involved in its viewing. Participation in a sideshow is not all fun and games, suffice to say; The Girl's relationship with the hard-drinking Zampano, the Strongman is frustrating in its endless cycle of affection sought and summarily denied. As they march forever to the horizon, on the titular Road, the journey to an infinitesimal Nowhere becomes the sole point, the similar cycle of preparation, performance, and deconstruction being their "day in, day out", the Girl getting nary a reward in spite of her base desire for love.

Along comes a Fool, endlessly bantering and comical, to challenge Zampano for the Girl's heart. Would it be a spoiler to suggest that things don't end very well for anyone? Performances from everyone are top-notch, in particular Anthony Quinn, in his first great role (written expressly for him). The scene with Zampano, drunk on the beach after failing to articulate his true feelings to his Girl, is possibly the finest work Fellini has ever done. Collapsing in the sand, then looking up awestruck at the vast expanse of night sky above, Zampano's face reflects a wealth of tragedy, incontinence, fear of the great void. That his life is also a Great Void should be lost on no one. "La Strada" will likely send you spiraling into a depression afterward, so be sure to have a brainless comedy on hand.