A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
Journalist and man-about-town Marcello struggles to find his place in the world, torn between the allure of Rome's elite social scene and the stifling domesticity offered by his girlfriend, all the while searching for a way to become a serious writer.Written by
Credit for the creation of Steiner goes to co-screenwriter Tullio Pinelli. Having gone to school with Italian novelist Cesare Pavese, Pinelli had closely followed the writer's career and felt that his over-intellectualism had become emotionally sterile, leading to his suicide in a Turin hotel in 1950. This idea of a "burnt-out existence" is carried over to Steiner in the party episode where the sounds of nature are not to be experienced first-hand by himself and his guests but in the virtual world of tape recordings. See more »
During the "Madonna" scene at about 1:04, the amount of tape on the reels of the recorder changes between the wide shots and the close-ups. See more »
Stay free, available, like me. Never get married. Never choose. Even in love, it's better to be chosen.
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In the original American release, distributed by American International Pictures, the titles open with the AIP logo and appear over a shot of the sky with clouds. In the current release on DVD - and as shown on TCM - the title sequence is over a black background. When originally released, censors in several countries trimmed certain scenes, including the orgy near the end of the film. See more »
the one film to take with you on a deserted island
I've seen this film regularly since 1971. In theatres, on TV, on video, on DVD. It doesn't age. If anybody ever needed proof that Fellini was a genius, this is it. La dolce vita remains the most touching statement about the human condition I ever saw on film. Everybody remembers the magic-realistic image of Anita Ekberg in the Trevi fountain, and a truly amazing image it is. But the film is much more than a slightly surrealistic sketchbook of emotionally empty jet setters. It is more existentialist than any book by Sartre or Camus. The final sequence is simply devastating. We are all Marcello. Since over 30 years this is my number-one film.
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