Review of La Strada (1954) by Justine S — 19 Oct 2006

This is only my third full Fellini film, and already it's battling with 8 1/2 to be my favourite. It's not quite as complex or surreal as 8 1/2, but in it's simplicity I feel it reveals wholler truths about humanity. Exquisitely shot and acted, this could easily be one of the best films I've seen, I'll give it another viewing though before pronoucing such a title. A simple girl is sold to a travelling entertainer, who treats her terribly but she still finds it in her heart to love him (sorry for the cheese explanation folks!).

In this the earliest Fellini film I have personally seen we see traces of the past of Italian cinema, although there is a strong sense of his own vision that has come through. It feels like Italia neo-realism in it's simplicity, it's setting and story even in the supporting characters. A lot of it though, is so undeniably Fellini. The circus, the sky and the ocean are symbols that I forever link with Fellini, or at least the idea of Fellini. He is almost too big a character to be a real man in my mind, he is an idea. I watched a documentary on Claude Jutra recently on CBC, and somehow this crazy Quebecois got an interview with him back in the 1950s. They have this soundless footage, he seems larger than life and once again unnatainnable and unreal. I prefer La Strada as a black and white film, I don't think I could take it in colour. The bleakness of the colour and the documentary style footage enriches the experience, bringing us so much closer to the characters and events. His general composition and mise-en-scene is pitch perfect... this is one spectacular film.

Essential for the intimacy of this film are the performers. The cast is perfect. Giulietta Masina is a relevation for me. She's like a silent film star plunked down into the craziness of the real world. I was so enthralled by her performance I had to restrain myself from renting Le Notti di Cabiria today (I'll be seeing it in class in a few weeks). Her face and body are so incredibly emotive and involved. When she's happy the whole world lights up, and when she's hurt everything seems hopeless. Her devotion to Zampanò is both sweet and tragic. As she often says, if she doesn't stay with him no one else will... but at the same time he's too barbaric for the likes of her. Then again, there really is no place in the world for Gelsomina. Watching the little intro. Scorsese compares her to Chaplin, and I see that entirely. Especially as the eternal misfit, Gelsomina will never fit in... just as the tramp will always walk into that sunset alone, she'll never find a family that will love and accept her totally. Just as much as I loved Giulietta Masina, I loved Quinn. He's such a dynamic actor, and watching this (and reading Heino's best character thread, visit now if you already haven't!), I'll probably be checking out Lust for Life among others. He is a great contrast to Gelsomina in every conceivable way. I even love in terms of physical appearance, he's this virtual giant compared to her miniature stature, and has this wild black hair. In the second half of the film, both Quinn and Masina took my breath away... they broke my little Canadian heart folks.

I really loved this film if you can't tell by my almost incoherent gushing.I of course need to see it again to make a real consencus on this one but I doubt it'll change that much. So, go see this one if you haven't already.