The main theme I can grasp I think is the criticism of journalism. How photographers are vultures and how journalists can make or destroy someone as they please But then what? This movie feels fucking all over the place and sometimes it's hard to keep up with what is being said Also what's so special about the foutain scene? Is it because it features a beautiful titcow? And is this a thing among liberals to fill your home with strangers and have them spout nonsense for the sake of seeking attention and "really make you think"? At least the women were hot I guess, posting best girl
Nathaniel Sanchez
each vignette is like a further entry into debauchery, marcello's shame is bubbling under the surface in every scene yet he's also too far gone to be able to implement any change into his life. one of the best interpretations I've ever heard was that the girl at the end calling to him is his own innocence lost in confusion and apathy
Kevin Bennett
Sounds pretty faggy.
Matthew Kelly
>the girl at the end calling to him is his own innocence lost in confusion and apathy
now you unironically make me think how the fuck was I supposed to get that? kino is ruthless. Fellini might just be too smart for me
Zachary Reed
more like criticism of decadent upper class
Caleb Reyes
you've missed the satire
the main "theme" is the dual emptiness and addictiveness of hedonistic bourgeois culture
marcello's path is as the other user suggested, a descent, until in the end he finds hismelf literally a world apart from your 'best girl' - no communication, he endlessly parties with the rest of the zombie elite- so much for 'the good life'!
mostly the film is a visual experience though, the first of fellini's films to completely display his mad carnival aesthetic. the larger than life environments, the bruegelesque parades of grotesque characters and caricatures
i didn't much like the movie when i first saw it. it's not fellini at his best, but it is/was a spectacle of an inviting world of glamour sin, i think the indulgence of it all worked with audiences. you watch this with your grandparents or your little siblings and they get it.
try La Strada for a folk-taleish Fellini, i vitelloni for a coming of age bohemian fellini, Nights of Cabiria for something between new wave and neo-realism, and 8 1/2 for the self reflexive proto-kaufman/allen industry satire. or: don't bother with any of them.
Colton Garcia
La strada is a nightmare
Jason Anderson
I never thought of it as a critique into journalism, it's much more than that, it's about decadent life as a whole. The term "paparazzi" came from this film.
Gavin Sanders
This. Notice how every characters go to elegeant and interesting parties then go back home to what can't even be called a modest apartment.
William Johnson
I did watch 8 1/2 before that and thought that it was a fucking mess. I think I'm done with italian cinema, it's just as much bullshit as our nouvelle vague
Nolan Brooks
fellini's not for everyone but writing off a whole nation because you didn't like one director's two films is retarded...
do you like zack snyder? guess american film's not for you
Colton Bailey
I really dislike Italian cinema too and I've seen all the big name directors.
Jackson Thomas
>decadent life as a whole
it didn't strike me because the main character willingly engage into this kind of universe and seems fine with it. While you can clearly see he is irritated by all the photographers even though he has to work along with them, and assume he shows remorse doing the job he does
I don't know much about italian cinema desu but it wouldn't surprise that it's all chaotic movies because it's inherent to the italian character anyway.
Can you name a few? I avoided those movies for a long time now and rightfully I think. I have yet to see l'avventura for example.
Oliver Robinson
You shouldn't avoid them because I don't like them you stupid fuck
Blake Sullivan
that's not what I said, but I often fall into the trap and end up watching some masturbatory garbage, then again it's my opinion and it doesn't have much value
Lincoln Morales
>I don't know much about italian cinema desu but it wouldn't surprise that it's all chaotic movies
try antonioni's Lavventura or rosselini's Voyage to Italy. italy can be just as meditative as anywhere else.
Kayden Evans
50-70's Italian cinema is my favorite, 60's Italian is the pinnacle of cinema imo I love everything about it, the politics, the exploitation, the arthouse, the comedies. American cinema just seems bland by comparison.
40-60's Japanese cinema then 70's Hollywood, which had a strong Italian flavor 40-50's Hollywood 40-60's French cinema
Don't knock it off until you're sampled all the flavors it has to offer.
Listing one film per essential filmmaker, google names if you want more. I'm sure I'm forgetting a lot.
Arthouse masters: Pasolini: Mamma Roma Fellini: Satyricon Visconti: The Leopard Antonioni: L'avventura Bertolucci: The Conformist
Comedies: Risi: The Monsters Monicelli: Big Deal on Madonna Street Scola: We All Loved Each Other So Much Germi: The Birds, the Bees and the Italians
Politics/society: Rosi: Hands Over The City Petri: Investigation of a Citizen Above Suspicion Pontecorvo: The Battle of Algiers Ferreri: La Grande Bouffe Jacopetti: Mondo Cane
Crime/poliziottesco: Lizzani: Bandits in Milan Castellari: The Big Racket Di Leo: Caliber 9
Westerns: Leone: Fistful of Dollars Corbucci: The Great Silence Sollima: Face to Face Petroni: Death Rides a Horse Valerii: Day of Anger
Scifi: Barbarella Planet of the Vampires
Horror: Bava: Black Sunday Argento: Suspiria Fulci: A Lizard in a Woman's Skin Bazzoni: The Fifth Cord Martino: Your Vice Is a Locked Room and Only I Have the Key
Nathaniel Scott
>Visconti: The Leopard god I disliked this film so much, con fuckign gratys u can have budget for suits but forgot rest of the film
Brandon Nelson
Italy also produced Sturaro, possibly the greatest cinematographer of all time
Sebastian Price
>what's the point of this Honestly it was one of these movies that called my attention because of the craft and really never cared much for content and politics as these can vary pretty much from any film. I'm aware that the movement of cinema prior was heavily influenced by politics but i really didn't care lol. Though what I wanted to see in this movie was the flow of the frames, the position of the actors (also mise en scene) and the optical effects behind every scene
I guess that symbolism is subjective, just like yojr feelings toward the scene, in the end film is pretty complicated. I guess you can say its a bittersweet statement about the life of the protagonist which is probably accurate
Alexander Barnes
There's more to it than costumes and expensive sets, it's such a beautifully and delicately directed film about change and the death of an era. Perhaps try revising it in a few years, it's one of those films that makes more sense and connects with you more the older you get.
Chase Baker
I admit. I know nothing about the intricacies of Italian history. I admit that probably reading about it, even the general Wikipedia page would've helped with the film but I didn't like it until towards the end where Burt Lancaster's character completely takes over the film. In general, the film got increasingly better in the final hour-45 minutes of its runtime.
Christian Sullivan
If you're a typical pleb with teenage sensibilities, you probably have a boner for Scorsese so watch his Voyage to Italy documentary. He's so passionate and eloquent about Italian cinema, it's a great intro for plebs.
Evan Fisher
...
Justin Gonzalez
did she ever show her knockers? thicc goddess
Noah Taylor
the main character is given 2 choices. Either settle with his gf and lead a safe but boring life, or keep fucking around in those parties
moreover he thrives to be a writer but is reluctant to do so, even more so since the guy who could help him make his breakthrough killed himself (Steiner)
he might hate his job but at least he has a network and made good enough connections to participate in those parties he likes (+ financial security while becoming a writer is risky af)
in the end he is incapable of making a choice. He did make up with his gf but it collides with his lifestyle and in the long run it won't work, so the guy is basically back to square one
Am I over reading things or is this analysis ok? OP btw
Blake Miller
SOMEONE ANSWER I WANNA KNOW IF I'M INTELLIGENT ENOUGH FOR KINO OR NOT
Adam Anderson
Helpless dependence -- complete devotion: the ultimate form of selfishness.
Emptiness, alienation, ennui.
The closer Marcelo gets to people, the more he understands that they are all as empty as he.
Tyler Myers
Yeah boi you got it basically. I love this movie. Marcello is a fucking god
Mason Lewis
>it didn't strike me because the main character willingly engage into this kind of universe and seems fine with it.
The film is a relentless polemic against Marcelo. Just because he's the main character doesn't mean he's portrayed sympathetically.
Justin Ward
Not who you're responding to but I think the film, if not sympathetic to Marcello, shows us he has the potential to find his way out of his struggle, and the intelligence to see that path, and thus we all have these things