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But Fellini was too in love with the fantastic, the operatic, the carnival and the circus. Working first as a caricaturist, he got into films as a writer, providing scripts for the neorealist godfather Roberto Rossellini and Fellini’s first directorial efforts, such as I Vitelloni and La Strada – were in a similarly neorealist vein.
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But Fellini was as full of contradictions as the young / ancient country that produced him. Frequently the dawn coming as the characters finally take their way home. The glitz and the glamour are fun and the film constantly stays up all night. Anita EkbergĪnd yet Fellini’s film is not only about surfaces but also what lies beneath them.
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It isn’t a huge surprise that the film inspired an entire subculture with the Mods using it as a fashion bible. Ironically, in the films the Italians are all obsequiously adoring of American glamour in the form of Anita Ekberg’s busty screen goddess and her drunkard actor boyfriend, but it is the Italians who have the true style rather than the brutishly dumb yanks. The mopeds and the suits, the sunglasses and the drinks, Rome itself looked gorgeous – the Trevi Fountains – and Marcello Mastroianni was an instant superstar.
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It promoted an idea of Italian melancholy cool. A scende from La dolce vitaįor an Italy still recovering from the bombing and humiliation of the war and haunted by the compromises and guilt of fascism, La Dolce Vita was the first international blockbuster. On the surface, it’s a sweet life of cool detachment and careless hedonism, but there’s also a dark side as his girlfriend is driven to attempt suicide by his constant philandering and a gnawing sense for Marcello that his life has no meaning.
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Released in 1960 when Stuart Sutcliffe was still in The Beatles, Fellini’s movie follows gossip journalist and failed novelist Marcello Rubini (Marcello Mastroianni) as he wanders Rome looking for stories, chasing women and an ideal of happiness that always seems tantalisingly close and yet agonizingly far. It is hard to overstate the importance of Federico Fellini’s La Dolce Vita to world cinema, but let’s try anyway.