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3 days ago · The yellow journo: La dolce vita Mastroianni as Marcello Rubini in La dolce vita / Photo: Wikimedia Commons. Why is Federico Fellini’s La dolce vita, the one film more responsible for Mastroianni’s lecherous reputation than any other, even on this list? In short, because it was (and remains) misunderstood, starting with the deceptively ...
La dolce vita marks the first collaboration between Fellini and Mastroianni. On November 4, 1977 in an interview on The Dick Cavett Show , Mastroianni recalled their first encounter. According to Mastroianni, Fellini told him that the producer wanted Paul Newman for the lead role, but that Fellini considered Newman too beautiful, while ...
- Overview
- Production notes and credits
- Cast
- Academy Award nominations (* denotes win)
La Dolce Vita, (Italian: “The Sweet Life”) Italian film, released in 1960, that was widely hailed as one of the most important ever made and the first of several acclaimed collaborations between director Federico Fellini and actor Marcello Mastroianni, who came to represent the director’s alter ego.
(Read Martin Scorsese’s Britannica essay on film preservation.)
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In La Dolce Vita, Mastroianni portrayed a disillusioned journalist and gossip writer, ashamed of the shallowness of his profession but too weak to remove himself from the nightly temptations it offers: booze, easy women, and exotic fun. Rife with irony and surreal imagery whose meaning may only have been known to the director himself, the film is a compelling indictment of the decadence of modern life, mass consumerism, and what passes for high culture.
The film’s opening scene—a helicopter flying a statue of Christ to Rome is juxtaposed with a shot of a bevy of bikini-clad women—is but one of many that mix the sacred with the shallow. Such sequences caused controversy and led some countries—and the Vatican—to condemn or outright ban the film. The sets are strange and exotic, the costumes are elaborate, and many of the movie’s scenes now rank among the most famous in film history, such as one showing the blonde, zaftig Anita Ekberg frolicking in the Trevi Fountain. La Dolce Vita is credited with contributing the word paparazzi to the English language (it derives from the name of the photographer in the film, Paparazzo) and adding the adjective “Felliniesque,” referring in part to the director’s embrace of the surreal, to the movie critic’s lexicon.
•Studio: Astor Pictures Corporation
•Director: Federico Fellini
•Writer: Federico Fellini, Ennio Flaiano, Tullio Pinelli, and Brunello Rondi
•Music: Nino Rota
•Marcello Mastroianni (Marcello Rubino)
•Anita Ekberg (Sylvia)
•Anouk Aimée (Maddalena)
•Annibale Ninchi (Marcello’s father)
•Best director
•Writing
•Costume design (black and white)*
•Art direction (black and white)
- Lee Pfeiffer
Sep 10, 2024 · But La Dolce Vita director Federico Fellini insisted on Mastroianni, because, as he said to the actor himself (!), he wanted “a very normal face, a face with no personality, a...
In this audio interview with Marcello Mastroianni, conducted circa 1963 by film historian Gideon Bachmann, the actor talks about how he met Federico Fellini, how he was cast in LA DOLCE VITA, and how his relationship with the director deepened over the years.
Jan 5, 1997 · Marcello and Sylvia in Trevi Fountain. I have heard theories that Federico Fellini’s “La Dolce Vita” catalogs the seven deadly sins, takes place on the seven hills of Rome, and involves seven nights and seven dawns, but I have never looked into them, because that would reduce the movie to a crossword puzzle.
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Federico Fellini’s epic charts a week in the life of a tabloid journalist (Marcello Mastroianni) as the excesses of modern Roman life go on around him. Beginning with the startling image of a statue of Christ being transported over the city by helicopter, Fellini’s three-hour panorama of the contemporary Roman ‘good life’ marked a ...
