La Strada Poster

La Strada (1954)

Drama  
Rayting:   8.1/10 58.7K votes
Country: Italy
Language: Italian
Release date: 30 December 1954

A care free girl is sold to a traveling entertainer, consequently enduring physical and emotional pain along the way.

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jamesrupert2014 5 April 2018

"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.

artzau 9 February 2001

Fmovies: I saw this film in 1954 and every Fellini film since. Basehart and Quinn under Fellini's skillful direction add a chemistry to Masina's portrayal of innocence that is incredible. I would argue this is Fellini's best film. Everything works. It is so full of little things, from the farm folk hired as extras to the rubber boots worn by Quinn striding into the ring to do his corny strongman act. Fellini nearly drove Masina crazy during the filming-- he wouldn't let her bath or wash her hair for weeks on end-- but, the end result speaks for itself. There are some excellent comments on this film elsewhere in this section. I suggest you read them. I can only say, this is one of the great films.

tantris-3 12 May 2000

This is one of the most influential films of all time, it is the classical example, where "less" is always "more". The story is deceivingly simple and it feels at the beginning almost like a piece from "commedia del arte", however the master touch of Fellini's heart and vision talk to us directly through the canvas of Gesolmina's face (Giulietta Massina was his wife in real life). You don't need big words or a crafty developed script. This is like music, speaks directly it does not need translation even most non-Italian speakers find themselves more and more immersed in the visual aspects of this drama, it seems in many aspects surreal (I'll develop this point later) and distant but at the same time there is an underlying tension brought up by the close ups and the music revealing all those emotions much more close to our hearts than we are at first openly willing to admit. This is cinema at its best ladies and gentlemen. No special effects, no grandiose vistas, no colors, no extra help. The intimate nature of these characters feelings talk and paint more pictures than anything else can convey. Regarding the intimate relationship of Fellini and his movies there are already many of his little "secrets or eccentricities" that he imposes in all his films, they all have relevant hidden messages, such as the "white mysterious horse" and the haunting "trumpet melody" are just some of them. Those interested in Fellini's oeuvre should have the pleasure to uncover them with more of his viewing of what this all means, in same cases there is a definite reason in others he leaves it to your own devices and interpretation. He constantly teases us with contradictory emotions, sadness and laughter, complicated and simple, logical and absurd, brutish and angelical. Finally this film is like a great banquet, it seems to drag at he beginning and makes you think that is going to be too long and then at the end it seems too abrupt and you want it to continue, but most importantly leaves with us a savor that will linger in our minds for a long time, those who are sensitive to Fellini's vision will carry this for ever and hunger for more, those indifferent will dismiss it as an extravagant little piece and may be curios for another one. Once thing is for certain, nobody will ever forget Gesolmina's face.

mattreviews 16 January 2005

La Strada fmovies. La Strada can sometimes come across as similar to the Hollywood films made in the 1950s, but for the most part, is a unique and beautiful story. It concerns a young woman, Gelsomina, being given to traveling "artist" Zampano by her poor mother in exchange for money. Zampano makes his money by traveling around Italy, putting on a strong-man show for crowds. Gelsomina has dreams of becoming an artist as well, and therefore was more than happy to go with Zampano, but Gelsomina quickly realises that Zampano is nothing more than a drunkard and a brute, with eating, sleeping and sex being the only things he cares for.

The character of Gelsomina, played by Giulietta Masina, is the highlight of the film. With a face like no other, it exudes a certain beauty but is also very odd, with a definite quirkiness to it Â…"like an artichoke". Masina is excellent as expressing emotions with nothing more than a look, and it is because of this that the film stands strong. The story itself is simple, but with Gelsomina being such a romantic at heart, she is constantly searching for love and an understanding of a world she doesn't know, being such a sheltered loner when living with her mother and four younger sisters.

Zampano, the traveling strong-man, follows the basic of human instincts, irrespective of their bearing on others, namely Gelsomina. Anthony Quinn gives the character a great ignorance, Zampano being, for the most part, oblivious to the impact his actions have, only wanting to be able to earn money to eat and drink wine, and sleep with women. It is not until Zampano and Gelsomina (Gelsomina having become Zampano's sidekick in his traveling show) take on a position as part of a circus in town, and Gelsomina meets an acrobat clown, credited in the film as Il Matto – The Fool. She falls for his happy and carefree nature, exampled when he teases Zampano whilst he is trying to do his show. Zampano soon despises the Fool, and becomes jealous of the friendship forming between Gelsomina and the clown. This is where Zampano begins to show real emotion, and although he doesn't deal with the situation in the most appropriate way, it is the beginning of his life experience that changes him forever.

The film is gorgeous, with some memorable characters, namely Gelsomina. It doesn't end on a happy note, but you are still left satisfied with the story told, especially the lesson taught to Zampano, although it was all too late for him, and it is not certain that he learned from the experience. Masina is an absolute delight to watch, holding you captive with her face alone, beaming with love. The film is not for those looking for Hollywood drama and action, but for anyone who knows how it feels to be confused and in need of understanding about life's ways.

Snow Leopard 21 December 2004

Fellini's "La Strada" is memorable, atmospheric, entertaining, thoughtful, and many other things. It is often sad, not even so much because of the things that happen, but simply for what it reveals about the human condition. It is sometimes surreal, not in a bizarre visual sense, but in the unexpected combinations of emotions that it sometimes evokes. And it is always human, commenting on individuals and humanity as a whole with a keen eye and with cinematic skill.

The three main characters make an odd and interesting mix of personalities. Anthony Quinn gives plenty of life to Zampano, who is hard to like, but hard not to have compassion for. Fellini's repeated filmings of Zampano's chain act bring out the pitiable side of his character even more so than the dramatic scenes do.

Giulietta Masina gives a rather stylized performance as Gelsomina, at times bearing a surprising resemblance to comics such as Harpo Marx or even Harry Langdon. Yet she is completely engaging and sympathetic, and she creates a memorable character. Richard Basehart likewise manages to make The 'Fool' an idiosyncratic, rather annoying, but again sympathetic character.

Fellini's approach, of course, adds much to the characters and to the story. Some of the vignettes, such as the wedding banquet sequence and the convent sequence, would stand up very well on their own with just a minimum of outside context. The camera is often used in subtle ways to bring out the symbolism or significance of the scene.

Nino Rota's music is also an essential part of making "La Strada" what it is, at times establishing an atmosphere all by itself. (And, while it is completely extraneous to an appreciation of "La Strada", there are moments when it is hard not to be reminded of Rota's score for "The Godfather".) Probably the only real weakness of the movie is the dubbing, which is too noticeable not to become distracting at times.

Finally, the movie is a worthy classic not least because Fellini, his cast, and his crew all work together to turn the lives of some very ordinary human beings into a worthwhile and sympathetic look at humanity.

jhclues 8 February 2001

A man of uncommon strength, who lives on the road and makes his living as an entertainer performing feats of strength, but who masks the emptiness of his life with a perpetual show of bravura, is the focal point of `La Strada,' directed by Federico Fellini and written by Fellini and Tullio Pinelli. It's the story of Zampano (Anthony Quinn), who travels from town to town, eking out a meager living by passing the hat after each performance, which consists mainly of wrapping a quarter-inch chain made of iron around his chest, then breaking it by expanding his lungs. In his endeavors he is assisted by Gelsomina (Giulietta Masina), a simple-minded young woman who is devoted to this selfish man endowed with little more intelligence than she. The tragedy of Zampano is that while he seeks fulfillment in meaningless carnal pursuits and the hollow acclaim of strangers, the happiness that eludes him is at hand; but his own self-deception prevents him from recognizing what a treasure he already has in Gelsomina. One of Fellini's earliest films, there is a straightforward, almost simplistic richness to his style, both visually and narratively, that is devoid of the surreal atmosphere with which he invests his later projects. Still, the mood he creates is mesmerizing, aided to a great extent by the haunting theme and score by Nino Rota. It is a story that gradually draws the viewer in through the sympathy evoked by the gentle innocence of Gelsomina, whose purity of spirit is seemingly in such stark contrast to that of Zampano. Watching her respond to his unthinking brutality of her with unadulterated kindness, time after time, is heartrending; and in the end, when Zampano ultimately secures our sympathies as well, it seems almost contradictory, though contextually just. As Zampano, Anthony Quinn gives what is arguably one of the best performances of his career; with depth and nuance, he creates the epitome of the brutal simpleton, a man whose lack of wit forces him to exist by the most basic of instincts. And Quinn conveys it all so perfectly, both physically and emotionally; it is an inspired, memorable performance. But without question, the true heart of the film is provided by the wondrous Giulietta Masina. What a superb, unforgettable performance; everything about her is totally engaging, beginning with the supple roundness of her face, which accentuates her expressive eyes and winning smile. Her Gelsomina is so lithe, her presence so angelic, that at times it seems as if she is about to float up off the screen. She conveys such compassion and vulnerability, such warmth of being, that it becomes impossible not to lose your heart to her. It is quite simply an irresistible, truly heartwarming performance. Also, in an exceptionally effective supporting role, is Richard Basehart, as Il `Matto,' the `Fool.' A tightrope walker by trade, the Fool is the antithesis of Zampano, a lighthearted soul who befriends Gelsomina and becomes her voice of hope and logic, while at the same time manifesting a taunting, challenging and unwelcomed presence to Zampano. Ironically, it is the Fool who becomes the catalyst for the tragedies that ultimately befall Gelsomina, and finally Zampano. The supporting cast includes Aldo Silvani (Il Signor Giraffa), Marcella Rovere (The Widow) and Livia Venturini (The Sister). An earthy, thought-provoking film, `La Strada' is one that will linger on sweetly in your mind's eye; the images and impressions it creates may, with time, dissolve-- but the essence of it will remain with you alw

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