STARS: Marcello Mastroianni, Yvonne Furneaux, Anouk Aimee, Anita Ekberg, Alain Cuny, Annibale Ninchi, Magale Noel.

STORY:

I’m sure that much has been said about this epic Fellini film; at 167 minutes it is a real journey. The title translates as `the sweet life’, and I recommend seeing this just to see what all the `fuss’ is about! It has established itself as a classic. The visual appeal alone was enough to hold my interest as the subject matter has great potential to bore if you don’t look beyond each `episode’ as it unfolds and see a bigger picture emerging. I think this reflects the central conflicts in the film. A subtle hand guides much of the story, so stay away if you prefer lots of outward action. Set in Rome, playboy and jaded journalist Marcello (Marcello Mastroianni) moves in privileged circles, and enjoys all the hedonistic distractions that hanging out with the rich and famous can offer. Many women gravitate toward him, none of them happy. Everyone’s searching for something that can’t be articulated, including Marcello, and I think this lies at the heart of the film. Characters move in circles around each other but don’t seem to connect; resolution is denied them with one notable exception, which I won’t divulge except to say it is a pivotal moment in the drama.

There are many layers to this film, and some beautiful scenes. The dialogue also has high points. I even found the famous 60’s model Nico, `muse’ of The Velvet Underground, in this film. Of course, the famous fountain scene with Anita Ekberg has to be mentioned, and what I find interesting is that her character is a minor one; she exits as quickly as she appears HAVING served her purpose. She’s a beautiful and perfect woman, a film star, untouchable. She has no flaws only because Marcello doesn’t know her, therefore he is enchanted by her. In contrast there is Marcello’s fiancee who sure gives him a dose of reality; he feels utterly trapped by her. The female character that interests me most is Maddelena (Anouk Aimee), covering the middleground between the two it would seem. Come to think of it, a feminist reading of this film would have lots to say about the portrayal of women. All in all however, the more I think about the story, the more complex it becomes. It’s a very interesting film, a benchmark for European cinema. Made in 1960, it is English subtitled, presented in 1:77:1 widescreen, sound is DD 2.0.

EXTRAS

There’s the usual chapter selection, a trailer, a `motion’ menu, some filmographies and Umbrella propaganda.

OVERALL

I would recommend this if you’re into cult or arthouse film. Filmed in black and white. Expect to peel back the layers like an onion, but without the tears. You won’t be manipulated to feel one way or another, Fellini works with subtlety in this film - let it wash over you and see what you come up with. I’m sure it will be many things to many people, which is always refreshing to find.