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La Dolce Vita [Region 2] by Federico Fellini
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DVD Cover InformationActor: Anita Ekberg, Anouk Aimée, Magali Noël, Marcello Mastroianni, Yvonne Furneaux Director: Federico Fellini Writer: Federico Fellini Producer: Angelo Rizzoli Producer: Franco Magli Writer: Brunello Rondi Writer: Ennio Flaiano Writer: Pier Paolo Pasolini Writer: Tullio Pinelli DVD: Region Code 2 Audio: English (Subtitled); Italian (Original Language) Format: PAL Running Time: 174 minutes Audience Rating: NR (Not Rated)
Movie Reviews of La Dolce Vita [Region 2]Movie Review: boring and very dated Summary: 1 Stars
This 40 plus year old movie has collected alot of dust as its aged.
It is very dated and a miserable bore by todays movie standards.Fellini tried to make something different and odd just for the sake of standing out . And today it does stand out, like a sore thumb.
Ekberg is heavy and stout looking as even the image of beauty has changed so much since then.everything has changed so much since this film has been collecting dust.
Summary of La Dolce Vita [Region 2]At three brief hours, La Dolce Vita, a piece of cynical, engrossing social commentary, stands as Federico Fellini's timeless masterpiece. Arich, detailed panorama of Rome's modern decadence and sophisticated immorality, the film is episodic in structure but held tightly in focus by the wandering protagonist through whom we witness the sordid action. Marcello Rubini (extraordinarily played by Marcello Mastroianni) is a tabloid reporter trapped in a shallow high-society existence. A man of paradoxical emotional juxtapositions (cool but tortured, sexy but impotent), he dreams about writing something important but remains seduced by the money and prestige that accompany his shallow position. He romanticizes finding true love but acts unfazed upon finding that his girlfriend has taken an overdose of sleeping pills. Instead, he engages in an ménage à trois, then frolics in a fountain with a giggling American starlet (bombshell Anita Ekberg), and in the film's unforgettably inspired finale, attends a wild orgy that ends, symbolically, with its participants finding a rotting sea animal while wandering the beach at dawn. Fellini saw his film as life affirming (thus its title, The Sweet Life), but it's impossible to take him seriously. While Mastroianni drifts from one worldly pleasure to another, be it sex, drink, glamorous parties, or rich foods, they are presented, through his detached eyes, are merely momentary distractions. His existence, an endless series of wild evenings and lonely mornings, is ultimately soulless and facile. Because he lacks the courage to change, Mastroianni is left with no alternative but to wearily accept and enjoy this "sweet" life. --Dave McCoy
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