![]() ![]() Yet, in truth, the film is a tragic allegory of the desolation lurking behind the façade of a perpetual carnival. It's a kingdom for the few carefree people people who circulate between parties and cruises, scandals and follies. ' The movie's theme is predominantly café society, the diverse and glittery world rebuilt upon the ruins and poverty of the postwar period. This is one of Fellini's bleakest films and the character of Marcello is a man who is desperately searching for an identity and a purpose, and yet lacks a moral centre. Essentially, the sacred is juxtaposed with the profane The film is a harsh satirical look at celebrity culture, media and a dark odyssey through the gritty streets of Rome, touring the seedy parts of bars, sidewalks cafes and nightclubs. However, when looking closer at the film one sees a cautionary tale about a soulless man who seems to have lost all his drives, hopes and ambitions, and is trapped in a life of empty nights and lonely mornings.įellini purposely reveals a Rome that is ancient with churches, aqueducts, castles and the Vatican which is in marked contrast to helicopters, pop music, apartment complexes, premarital sex, drugs, alcohol and the emerging mass-consumer lifestyle. ![]() That can seem like 'the sweet life' when one is young, free and reckless. The movie follows the main protagonist, Marcello Rubini, as he chases down stories and women, and attends high-class elaborate parties, all the while he has a suicidal fiancee waiting for him at home. Both Eliot and T.S Eliot seems to possess a thematic interest in “ visions of the hollowness of contemporary life.' ( Richardson, 1969, p.103) It seems there are parallels between T.S Eliot's famous Modernist poem: The Waste Land (1922) and La Dolce Vita. A good deal of the film's appeal, as with all late Fellini, is the way it relishes what it condemns.' ( French & French,1999, p.75.) ![]() As several references to Dante confirm, it is a form of hell and it consumes Marcello, its observer and participant. It is a world that has banished or been deserted by God, a place where all values have been abandoned, all personal relationships severed, and the goal of life reduced to the fulfilment of desire. ' The film identified and criticised a new world of media-created celebrity, a corrupt international culture where journalists, plutocrats, aristocrats, show-biz folk, film-makers and politicians meet and merge. while simultaneously, making it highly glamorous and seductive: Consequently, Fellini reveals the emptiness, boredom and destructiveness of the Via Veneto existence. Federico Fellini's La Dolce Vita which in English means 'The Sweet Life' follows a gossip columnist named Marcello (Marcello Mastroianni) whose job chronicles 'the sweet life' of fading aristocrats, second-rate movie stars, ageing playboys and vapid women of commerce. ![]()
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