La Dolce Vita

2.00
    La Dolce Vita
    1960

    Synopsis

    Episodic journey of journalist Marcello who 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.

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    Cast

    • Marcello MastroianniMarcello Rubini
    • Anita EkbergSylvia
    • Anouk AiméeMaddalena
    • Yvonne FurneauxEmma
    • Magali NoëlFanny
    • Alain CunySteiner
    • Annibale NinchiMarcello's father
    • Walter SantessoPaparazzo
    • Valeria CiangottiniPaola
    • Riccardo GarroneRiccardo

    Recommendations

    • 100

      Chicago Sun-Times

      The movie is made with boundless energy. Fellini stood here at the dividing point between the neorealism of his earlier films (like "La Strada") and the carnival visuals of his extravagant later ones ("Juliet of the Spirits," "Amarcord'').
    • 100

      The New York Times

      A brilliantly graphic estimation of a whole swath of society in sad decay and, eventually, a withering commentary upon the tragedy of the overcivilized. (Review of Original Release)
    • 100

      Los Angeles Times

      A brilliantly conceived epic fable.
    • 100

      Christian Science Monitor

      A profound film by a legendary director in the greatest period of his career.
    • 100

      San Francisco Chronicle

      In this one masterpiece, Federico Fellini achieved the ideal balance -- between social observation and unconscious imagery, between artistic discipline and freedom, and between the neo-realism of 1950s Italian cinema and the orgiastic flights of his later work.
    • 100

      Boston Globe

      Freshly viewed, the movie's melancholy seems to fit uncannily well in the moment we find ourselves now. In the film there are mentions of nuclear annihilation and worries that heedless lust and wanton partying could bring Rome a second fall.
    • 90

      Variety

      The performances are uniformly excellent. Mastroianni is perfect in the key role of the basically good and honest boy who succumbs to the sweet life. Ekberg is a revelation as the visiting star, while Furneaux almost runs off with the picture as the reporter's instinctive, possessive mistress. (Review of original release)
    • 80

      Village Voice

      In one movie, at least, the ethical baseline (heisted, you could argue, from "Sweet Smell of Success") gave Fellini's roaming, cluttered mise-en-scène a chilling gravity he could never genuinely locate again.

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