Word: fellini
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Juliet of the Spirits. Italy's Federico Fellini is the Barnum of the avantgarde. In his apocalyptic La Dolce Vita, as in the wildly self-centered 8$, his flair for baroque theatrical effects seemed to be a secondary characteristic of genius, the manner but not the meat of it. In Juliet, his first full-length movie in color, effect is everything. Fellini puts on a psychic three-ring circus that promises profundity and delivers only a stunningly decadent freak show...
...Juliet of the film's title is Fellini's wife, Giulietta Masina, exercising all of her rueful, clownish charm as a bourgeoise matron with marriage problems. Neither beautiful nor clever, and inhibited by an unshakable Catholic conscience, Giulietta is wounded by the discovery that her husband (Mario Pisu) has a mistress. She consults a seer, seeks refuge in spiritualism, tries to distract herself by befriending an elegant trollop (Sandra Milo) next door. Meanwhile, she begins to live more and more in fantasy - images of abstract evil, dreams of sexual abandon, phantoms of childhood fears. Not until...
...Fair. It opened to disappointing crowds on a cold, rainy day in April 1964, with militant CORE picket lines all but blocking major avenues and hecklers disrupting President Johnson's send-off speech. Last week it closed with a frightening scene straight out of a Federico Fellini film fantasy...
...crosscountry tour that has already nearly recouped production costs. Auntie Mame is being put to music as My Best Girl by Jerry (Hello, Dolly!) Herman; and Anya (nee Anastasia) is given voice with a score gleaned from themes by Rachmaninoff. Then there is a pair of transubstantiated movies: Federico Fellini's Nights of Cabiria will become Bob Fosse's Sweet Charity with Gwen Verdon. The Blue Angel, as Sugar City, relocates to New Orleans, with Walter Slezak and Lilo. The composer: Duke Ellington...
...comedies as Pietro Germi's Seduced and Abandoned. Posing as a doctor, Mastroianni offers his protection to a dishonored country girl (Yolanda Modio) and becomes so inflamed by the nearness of her murderous menfolk that he begins biting buttons off her dress. Another stylishly funny sequence, indebted to Fellini, drums up elegant corruption at a villa where a deaf aristocrat's mistress (Marisa Mell) tries to persuade Mastroianni to kill for her. In pursuit of the lady, he is ferried languidly along a stream, statues and bridges crumbling ominously in his wake...