JLRVancouver
"La Strada" is Fellini's poignant drama about a simple, naïve young women Gelsomina (Giulietta Masina) who is 'sold' by her mother to be the consort/assistant of Zampanò, a cruel, itinerant street performer (Anthony Quinn). The film follows the two as they travel though post-war Italy performing Zampanò's shabby one-man show for handouts. While working in a run-down circus, they encounter "Il Matto" (Richard Basehart), a talented performer who takes an immediate dislike to Zampanò and taunts the quick-tempered strongman at every opportunity. Gelsomina is torn between her aversion to the harsh, thoughtless Zampanò and a feeling of duty toward him, which she begins to believe is her purpose in life. As the sweet, fragile Gelsomina, Giulietta Masina is fascinating to watch. She has limited dialogue and much of her story is told in her face, which ranges from almost expressionless vacuity to great joy to profound sadness, as she struggles to get along with her brutish companion. Quinn and Basehart, playing contrasting, antagonistic characters, are also excellent. Winner of the first Academy Award for Best Foreign Language Film. Best seen in the original Italian, with subtitles if necessary.
frankwiener
If this isn't the saddest movie that I have ever seen, it is very close to the top of the list. Even more significant are the stellar performances of the three leads, the skill and sensitivity of Fellini's direction, the stark black and white cinematography of Martelli and Carlini, and the haunting theme song by Noni Rota, which must never be underestimated in its overall contribution to the prevailing sadness from beginning to end.Although the film occurs nearly a decade after World War II ravaged much of Italy, the bleakness and impoverishment of the Italian countryside serve as a perpetual backdrop to the disastrous events that befall the three central characters. Although I initially believed that the road covered much more of Italy, most of the movie was filmed in only three central Italian locations, including the towns of Viterbo and L'Aquila and the seaside at Fiumcino, not far from Rome.The first time I viewed "La Strada" was as a very young boy when it appeared on "Million Dollar Movie" for an entire week at a time. Although I could not have possessed a clue as to what was transpiring in front of me, I was nevertheless very impressed by the actors, the music, and the unique atmosphere even as a child. Needless to say, the film has immensely improved in time as I watch it as, more or less, an adult.How could the casting of Giulietta Masina have been as controversial as it was? I can't imagine anyone else on the screen as the simple and very expressive Gelsomina. She was outstanding and so were Anthony Quinn and Richard Basehart in three interacting roles that have been sharply defined and unforgettable for more than six decades. In Shakespearian tradition, it was the fool, played by Basehart, who ironically exposed the foolishness of those around him. In spite of the limitations of all, especially the unimaginative brute Zampano (Quinn), the story reveals the true humanity of us all. Along the road of "La Strada", life is often unkind, and we are only human, not gods. Forgive us all.
framptonhollis
It's ridiculously late at night right now and I just finished watching Fellini's masterful classic "La Strada" for the very first (and, by the looks of it, certainly not last) time. I was planning on sleeping right after the film ended and publishing an IMDb review tomorrow, but the film had such a profound effect on me that I feel the need to review it now, and share my experience will all of you.Although it is a tragedy, "La Strada" still carries classic Fellini whimsy, magic, and humor. It also expresses his talent for storytelling, character, and ability to amuse and entertain while also being intelligent and meaningful. This is a carnivalesque dance of the human soul, exposing both the positives and negatives of life itself. The characters are some of the finest and most memorable I have ever seen in the film. There is the childlike and lovable heroine Gelsomina, the menacing, abusive, and yet surprisingly sympathetic villain Zampano, and the hilarious and inspiring Fool. These memorable personalities clash in a practically perfect film that combines neorealism with surrealism and tragedy with comedy. A true masterpiece if I've ever seen one.
Manuel Josh Rivera
A whimsical and often magical story that is one of Fellini's more linear and accessible stories. Not only is the warm heart of the story apparent, but the visuals, in typical Fellini fashion, provide striking background imagery.Gelsomina (Giulietta Masina) travels with Zampanò (Anthony Quinn) to earn money. Together they journey and experience various people. Amazing performances especially from Masina coupled with an endearing score. Il Matto (The Fool) provided some laughable moments who meets his fate the last time he meets Zampanò. Simple yet striking screenplay with a sample lines: "For if its useless, everything is useless. So are the stars!" - The Fool. More of an emotional drama that have no direct or structured plot, which lets the viewer wait what happens to the leads. La Strada shows several metaphors such as the nuns (religion), The Fool (humor and realization that everything has a use), Zampanò (greed/selfish desires/loneliness/physically strong yet morally weak) and Gelsomina (a talent never given the spotlight/purity/innocence).
AD
