![]() ![]() ![]() ![]() Gelsomina and Zampanò play out the grim relations between the sexes, a vagabond version of “Beauty and the Beast,” and the roles of “savior” and “convert.” So much so that Fellini was savaged by the Left for betraying his neorealist origins.Ī bishop and a priest are chauffeured to the rural home of two peasant sisters. The first entry in what Bondanella deems the “trilogy of salvation or grace,” these figures derive meaning from their emotional impact and symbolic significance, not their material circumstances. News of her death wrings tears from Zampanò at film’s end. When brutish Zampanò accidentally kills the Fool, Gelsomina goes mad and eventually dies. They are joined by the Fool (Richard Basehart), who walks a tightrope high over provincial squares. Sold by her mother to Zampanò (Anthony Quinn), a travelling circus strongman, she accompanies his act on trumpet. La strada (1954), the film Fellini called “the complete catalogue of my entire mythological world,” is a starring vehicle for wife Giulietta Masina as Gelsomina, a clownish waif who communicates best with nature and children. ![]()
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