Word: ekberg
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...general audience. A Man and a Woman, I Am Curious (Yellow), Z--all were hits. Fellini's 3-hour La Dolce Vita, released in subtitled and dubbed versions, grossed the 1961 equivalent of $80 million. Part of its appeal was in the panoramic views of Roman naughtiness and Anita Ekberg's cleavage. But Fellini, along with many other directors, was experimenting with visual language. Imagine: here were new ways of seeing the world on film...
...exclamation point. So into this narrow shop he has insinuated a staircase of varnished particle board that runs from the lower level to the center of the main floor. Jazzy, glamorous and slightly disreputable, this is a staircase that's a force to be reckoned with, like Anita Ekberg stepping out of the Trevi Fountain in La Dolce Vita...
...here. Way too much is here, Meyer believing with William Blake that the road of excess leads to the palace of wisdom. He must, for it is his nature, document his preoccupation with protuberances: the meditation comparing English bosoms to Italian abbondanzas, the tribute to "Anita Ekberg's gravity-defying / conically capacious dairying facilities." But he is as generous to other, minor bards as he is to himself, including long excerpts of movie critiques from the likes of the Kankakee Clarion, the Chico News and Review...
...actor known as "the face of Italy" pass into memory without a poetic farewell. So just after sunset on the day he succumbed, at 72, to pancreatic cancer, his wife Flora stood with the mayor of Rome and 500 other mourners at the Trevi Fountain, into whose waters Anita Ekberg had lured Mastroianni in the famous scene from Federico Fellini's 1960 La Dolce Vita. Now the lights faded, the water from the Neptune statue stopped, a lone flutist played the theme from 8 1/2 as two black drapes were stretched over the fountain. It was a last token...
...excites and frightens, forbids and enchants. To Marcello in La Dolce Vita, woman is "mother, sister, daughter, lover, angel, home." How small and sad and funny men are in comparison! At one end of the spectrum they are like the midget bluenose in Boccaccio 70 (1962) overwhelmed by Anita Ekberg as a sexual giantess -- it's the attack of the 50-ft. libido. At the other end they are like Guido in 8 1/2 cracking the whip in a vain attempt to tame his harem menagerie...