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One of the finest films ever made; `La Strada’ is a sparkling feat in cinema. I have been a fan of Federico Fellini ever since seeing the radiant `8 ½’, but I must confess that `La Strada’ is the best film I’ve seen from him and the one that will continue to shake me for years to near. A fine, yet tragic fable of care for and ignorance, and esteem IN ignorance, `La Strada’ is a priceless portrayal of ones inability to transcend their possess ingrained survival instincts and embrace what is accurate in front of their face; esteem.
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The film seems like a simple anecdote. Gelsomina is the eldest child in a dreadful single parent family who is sold to Zampano, a muscle-bound sideshow act who had previously purchased Gelsomina’s sister (who is now deceased) . Gelsomina is a simple girl, not too radiant and completely naïve to the contrivance of the world. Zampano is not mighty different though, even if he seems it. He too is a simple man, but he is less ignorant when it comes to the world and more ignorant when it comes to human relationships. He seems on the outset to be cruel and demanding, but he is merely acting in the only diagram he understands, most likely the device he was treated as a child. He thus treats Gelsomina, not as a lover or a wife but as a child, disciplining her with beatings and putting her down, constantly controlling her. When one really dissects his actions though, they are clearly expressions of like gone terribly contemptible.
Unlike the `monsters’ created in cinema today to dispute the severity of spousal abuse, Zampano is far from a monster. He is a confused and conditioned man, lacking the ability to wreck his shell and better himself.
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Gelsomina is your typical victim, but her stunted comprehension of society’s workings makes her almost a victim of herself. She finds herself thrust into a world that she is not privy to, and instead of learning to adapt she forcibly resists, or objective cowers in cowardice. She lacks the drive to gather herself, even though she is given the perfect opportunity to become her maintain person. When she does attempt to develop those steps she backs down at the first brand of opposition, which leads her to coil wait on even further into the shell she builds to protect her from distress.
The one thing that I assume cannot be argued, but so frequently is, is the fact that Zampano and Gelsomina are in adore. I know that this may seem curious and maybe even impossible when one looks at the events taking residence, but events must be considered in context, and context to me proves that these two were ignorant in their beget notion of adore, thus they acted foolishly and tragically in the name of a feeling they were too prideful, and maybe even monotonous, to retort. I don’t want to acquire into distinguished of the film, and especially not the ending, but when one watches the film I consider it is essential to perceive at the unseen as distinguished as the seen. The actors do a masterful job of exposing their character’s inner motives without really exposing them, keeping up a guard and making you wonder.
When that guard is broken down by the discerning viewer a completely different conclusion can be drawn.
The performances are all colorful, especially Giulietta Masina who is startling as Gelsomina. Her almost speechless performance is elevated by her ability to instruct so considerable with her face (that cute dinky artichoke) . She has an almost theatrical quality that really fits the tone of the film well (beings that the circus is a major theme) and so it shows that she was observant of her character’s surroundings and incorporated them into her performance. Anthony Quinn is also beautiful as Zampano, giving him a layer of almost undetectable vulnerability (like I said, the unseen) . I also really enjoyed Richard Basehart’s jovial portrayal of Il Matto, Zampano’s circus rival. His character is really one of the most spicy to discern, but when one finds their impression of the man then, and only then, can they understand their feelings of Zampano and Gelsomina. He is really the crux in their relationship, and ones impression of Il Matto greatly influences their impressions of the two leads.
This film is truly an outstanding cinematic accomplishment and rests easily at the top of my personal celebrated films of all time. It is beautifully shot, expertly paced, crisply directed, brilliantly acted and, above all else, marvelously written. It covers all of it’s bases in a procedure that many films cannot.
This one is definitely necessary!
Concerning the story: the former girl Gelsomina is sold to the bully Zampano, who treats her dismally. They tour the country with a circus, until the unlit climax of the anecdote.
What makes this movie so special are the two main characters, who divulge a immense performance. In addition, the movie is made in shaded and white, with harsh and consuming contours; a feeling of loneliness permeates the visuals, the actions and the dialogues. One scene jumps out that underscores the sadness of the fable. As Zampano buys an icecream at a itsy-bitsy stall towards the extinguish of the movie, he doesn’t lick at the cone. Instead he pushes it into his mouth and swallows it completely, without stopping to taste it. It is visuals like this that turn this movie into such a strong myth of suffering people, lost in a harsh, lonely world.
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