La strada never presses any point. Zampano also changes as they continue on their journey. (2) Le duo formé par Gelsomina et Zampanò offre l’occasion au cinéaste de représenter les formes les plus modestes des arts forains. Giulietta Masina, A catalyst in other characters’ lives, he gives Gelsomina hope. You will also find the waifs and virgins and good wives, contrasted with prostitutes and temptresses (Fellini in his childhood encountered a vast, buxom woman who lived in a shack at the beach, and made her a character again and again). La Strada had an important role to play in their responses – unprompted, many of our respondents mentioned this film as their favourite, along with its striking female protagonist. Her optimism and loyalty is repeatedly met with cruelty: he orders her to wait while he rides away with another woman on his motorbike, he whips her for every transgression, he smacks her around for refusing to help him steal from a convent, and he beats her when, after she briefly escapes, she rebuffs his attentions. It holds its own, more than six decades on. Celui-ci survit en brisant des chaînes et en crachant du feu pour distraire les gens. Masina's character is perfectly suited to her round clown's face and wide, innocent eyes; in one way or another, in "Juliet of the Spirits," "Ginger and Fred" and most of her other films, she was always playing Gelsomina. But it is also clear that a man even on as low a level of the totem pole as Zampano needs something he can call his own—and that something is Gelsomina. Ce bateleur roublard n’envisage, en réalité, le spectacle que comme un outil de manipulation et de domination, en cela semblable à quelque metteur en scène cynique. Rosa had been sold to Zampano, who has come to give the news to the family. Ne se réduisant pas à ses mélodramatiques atours de sombre conte forain, La Strada déploie en réalité une réflexion à la fois profonde et lucide sur le cinéma lui-même. Ce que suggère un épisode de La Strada confrontant la jeune femme et Le Fou. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. It revived the acting fortunes of its American star Anthony Quinn, and made his co-star, Giulietta Masina, a world-wide sensation. Seeing the film again after several years, I found myself struck first of all by new ideas about the Fool. ("La Dolce Vita" opens with a statue of Jesus suspended from a helicopter; Marcello Mastroianni opens "8 1/2" floating in the sky, tethered to earth.) But his merciless teasing of the humorless Zampano precipitates the disaster that brings La strada to its tragic climax. La Strada Film Summary & Analysis. Like the characters’ realizations about themselves and the world, the meaning of La strada slips over you gradually, simply,unforgettably. The Movie Quiz: Who never got to direct an episode of Columbo? During their travels, Gelsomina begins to lose her innocence, but she keeps a quiet hope and unfailing optimism throughout all her trials. And, there is no question that it will continue to do so for years to come. David Ehrenstein has been writing about film and gay politics since 1965, for a wide variety of publications. Relevant lui aussi de ces œuvres traitant de la question spectaculaire, La Strada se place pour sa part sous le signe des arts forains. 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Fellini fait ainsi traverser par Gelsomina et Zampanò des espaces étrangement désolés, sortes de symétriques cinématographiques des paysages picturaux de Giorgio De Chirico. Une métamorphose dont participe encore l’incarnation de Gelsomina par Giuletta Masina. Photographié collectivement ou détaillé par quelque gros plan, le public est alors montré comme cédant avec délices à l’illusion spectaculaire. In the words of a film about him, "Ciao, Federico.". Their rivalry does not end well. Le traitement des espaces dans La Strada joue un rôle certainement essentiel dans cette souterraine imprégnation fantastique du quotidien forain, annonçant ainsi les « hors- lieux » oniriques de La Dolce vita (1960) ou de Juliette des esprits (1965). À la rondeur et à la pâleur lunaires, d’une expressivité intense, le visage de la comédienne constitue le centre même de La Strada. In his own rough way, he begins to care a bit for Gelsomina. La Strada begins with a death and ends with weeping: for a film about a clown, it is awfully short on banana skins. He needs an assistant for his act, and from a poor widow at the seaside he purchases her slow-witted daughter Gelsomina (Giulietta Masina). But from the moment of its release in 1954, it was clear that La strada had everything. Le traitement des espaces dans La Strada joue un rôle certainement essentiel dans cette souterraine imprégnation fantastique du quotidien forain, annonçant ainsi les « hors- lieux » oniriques de La Dolce vita (1960) ou de Juliette des esprits (1965). La vie est telle que nous la conte Fellini, écrite de bonheur, de lyrisme, de mélodies, de chagrins et de regrets. Gelsomina travels from her family home on a quiet beach to follow Zampano into a sporadic and unstable life. Federico Fellini's "La Strada" (1954) tells a fable that is simple by his later standards, but contains many of the obsessive visual trademarks that he would return to again and again: the circus, and parades, and a figure suspended between earth and sky, and one woman who is a waif and another who is a carnal monster, and of course the seashore. Zampano signs up with an itinerant circus, where the Fool (Richard Basehart) is employed. Leur dispositif scénique est rien moins qu’élaboré, et le spectacle qu’ils donnent à voir s’affirme par son austère simplicité. Mauvais cinéaste, Zampanò est tout autant un mauvais spectateur car la vision du visage « filmique » de Gelsomina ne déclenchera en lui aucun déclic réflexif, aucun progrès intime. Peu après, la jeune femme tombe malade. Synopsis. In Italy it catapulted its director, Federico Fellini, to the front ranks of that country’s greatest filmmaking talents. In almost all of Fellini's films, you will find the figure of a man caught between earth and sky. Ce voyage en Italie lui offrira des moments d’émerveillement, notamment ceux prodigués par Le Fou (Richard Basehart), un acrobate virtuose officiant dans un cirque tenu par un certain Giraffa (Aldo Silvani). À cette prestation de M. Muscle s’ajoutera par la suite un numéro clownesque après que Zampanò aura découvert le potentiel comique de Gelsomina. His books include The Scorsese Picture: The Art and Life of Martin Scorsese, Open Secret: Gay Hollywood 1928–2000, and Masters of Cinema: Roman Polanski. Il était une fois en Italie, une jeune femme pauvre et naïve répondant au nom de Gelsomina (Giuletta Masina). La strada consequently came as a surprise. As La Strada opens we see Gelsomina gathering wood by the sea. Elle lui voue en effet un amour profond et silencieux. En échange de 10 000 lires, celui qui exerçait le métier de forain l’emmena avec lui, en faisant à la fois son épouse et son assistante. There’s an odd touch of fantasy hanging about this childlike waif and the sullen brute who keeps her, and more than a touch of the magical to the circus high-wire walker known as The Fool, who they meet along the way. Mais pareils instants seront bien rares. Voilà qui en fait, dans l’acception la plus noble du terme, un indéniable classique du septième art. The character should never be aware of the effect she has, but we sometimes feel Gelsomina's innocence is calculated. Gelsomina is the epitome of innocence. Vous êtes connecté avec votre compte CANAL. Un abandon fasciné que procurent encore les formes plus sophistiquées d’art forain dépeintes par La Strada. But Zampano's jealousy and rage return; he kills the Fool; Gelsomina goes mad, and all is in place for one of Fellini's favorite endings, in which a defeated man turns to the sea, which has no answers. La Strada begins with a death and ends with weeping: for a film about a clown, it is awfully short on banana skins. Elle était la plus âgée des trop nombreux enfants d’une famille si misérable que sa mère la vendit un jour à Zampanò (Anthony Quinn). Marcella Rovere, (2) Geste que Fellini reprendra et prolongera deux décennies plus tard en réalisant en 1970 Les Clowns, un film cette fois-ci entièrement documentaire quant à la question circassienne. Giulietta Masina, Anthony Quinn, Richard Basehart, First published: Wed, May 17, 2017, 10:30. He isn’t any nicer to his male colleagues. Désormais liée au sort du fruste et brutal Zampanò, l’innocente Gelsomina prit la route. Anthony Quinn, N’ayant pour seul outil que son corps massif, Zampanò joue à l’hercule, s’efforçant de sidérer son public en rompant les anneaux d’une lourde chaîne par la seule puissance de sa musculature. The deal’s broker, Gelsomina’s mother, warns Zampanò that Gelsomina “came out strange”, and sure enough, she’s an odd duck, but one that can cheer a crowd with drumrolls, buffoonery and her little trumpet. “Why do you want me?” Gelsomina asks Zampano —she’s not pretty, she’s not talented and he clearly doesn’t love her. Tullio Cicciarelli of Il Lavoro nuovo saw the film as "an unfinished poem," left unfinished deliberately by the filmmaker for fear that "its essence be lost in the callousness of critical definition, or in the ambiguity of classification," while Ermanno Continin of Il Secolo XIX praised Fellini as "a master story-teller": Fellini trouva aussi matière à films dans le spectacle musical - Prova d’orchestra (1978) -, dans celui du petit écran - Ginger et Fred (1986) - et, bien sûr, dans le cinéma lui-même avec Huit et demi (1963) et Intervista (1987). An immediate box office hit, La strada won the Academy Award for Best Foreign Film.

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