Juliet of the Spirits

    Juliet of the Spirits
    1965

    Synopsis

    Middle-aged Giulietta grows suspicious of her husband, Giorgio, when his behavior grows increasingly questionable. One night when Giorgio initiates a seance amongst his friends, Giulietta gets in touch with spirits and learns more about herself and her painful past. Slightly skeptical, but intrigued, she visits a mystic who gives her more information -- and nudges her toward the realization that her husband is indeed a philanderer.

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    Cast

    • Giulietta MasinaGiulietta Boldrini
    • Sandra MiloSuzy / Iris / Fanny
    • Mario PisuGiorgio (Giulietta's husband)
    • Valentina CorteseValentina
    • Valeska GertPijma
    • José Luis de VilallongaGiorgio's friend
    • Friedrich von LedeburMedium
    • Caterina BorattoGiulietta's mother
    • Lou GilbertGrandfather
    • Luisa Della NoceAdele

    Recommendations

    • 100

      Christian Science Monitor

      Masina gives one of her most expressive performances.
    • 90

      New Times (L.A.)

      Sometimes the cinema is just heavenly, and this is one of those times.
    • 90

      Los Angeles Times

      Remains a timeless, major work of a master.
    • 88

      Chicago Tribune

      A mad, resplendent peacock of a film, a cinematographic riot of color and sensuality that evokes its era -- the swinging mid-'60s -- as much as any movie made during those giddy years.
    • 83

      Seattle Post-Intelligencer

      Above all, the film is just wonderfully ... well, Fellini-esque. It looks like nothing the cinema has seen since then.
    • 80

      The New York Times

      Invites you to contemplate the symbolic vibration of every hue in its teeming, overcrowded canvas.
    • 80

      Variety

      Fellini has put together an imperial-sized fantasy of a physical opulence to make the old Vincente Minnelli Metro musicals look like army training films.
    • 67

      Portland Oregonian

      Flopped on its initial release, and it is a somewhat decadent and overlong production. But Masina's performance is, as always, engaging, and Fellini's glee at launching into color filmmaking is palpable.

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