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La Strada (1954)

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One of the finest films ever made; `La Strada' is a magnificent feat in cinema. I have been a fan of Federico Fellini ever since seeing the magnificent `8 ½', but I must confess that `La Strada' is the best film I've seen from him and the one that will continue to shake me for years to come. A beautiful, yet tragic tale of love and ignorance, and love IN ignorance, `La Strada' is a priceless portrayal of ones inability to transcend their own ingrained survival instincts and embrace what is right in front of their face; love.

The film seems like a simple tale. Gelsomina is the eldest child in a poor single parent family who is sold to Zampano, a muscle-bound sideshow act who had previously purchased Gelsomina's sister (who is now deceased). Gelsomina is a simple girl, not too intelligent and completely naïve to the way of the world. Zampano is not much different though, even if he seems it. He too is a simple man, but he is less ignorant when it comes to the world and more ignorant when it comes to human relationships. He seems on the outset to be cruel and demanding, but he is merely acting in the only way he understands, most likely the way he was treated as a child. He thus treats Gelsomina, not as a lover or a wife but as a child, disciplining her with beatings and putting her down, constantly controlling her. When one really dissects his actions though, they are clearly expressions of love gone terribly wrong.

Unlike the `monsters' created in cinema today to express the severity of spousal abuse, Zampano is far from a monster. He is a confused and conditioned man, lacking the ability to break his shell and better himself.

Gelsomina is your typical victim, but her stunted comprehension of society's workings makes her almost a victim of herself. She finds herself thrust into a world that she is not privy to, and instead of learning to adapt she forcibly resists, or just cowers in cowardice. She lacks the drive to find herself, even though she is given the perfect opportunity to become her own person. When she does attempt to make those steps she backs down at the first sign of opposition, which leads her to coil back even further into the shell she builds to protect her from harm.

The one thing that I think cannot be argued, but so frequently is, is the fact that Zampano and Gelsomina are in love. I know that this may seem odd and maybe even impossible when one looks at the events taking place, but events must be considered in context, and context to me proves that these two were ignorant in their own understanding of love, thus they acted foolishly and tragically in the name of a feeling they were too prideful, and maybe even stupid, to acknowledge. I don't want to get into much of the film, and especially not the ending, but when one watches the film I think it is important to look at the unseen as much as the seen. The actors do a masterful job of exposing their character's inner motives without really exposing them, keeping up a guard and making you wonder.

When that guard is broken down by the discerning viewer a completely different conclusion can be drawn.

The performances are all brilliant, especially Giulietta Masina who is startling as Gelsomina. Her almost speechless performance is elevated by her ability to convey so much with her face (that cute little artichoke). She has an almost theatrical quality that really fits the tone of the film well (beings that the circus is a major theme) and so it shows that she was observant of her character's surroundings and incorporated them into her performance. Anthony Quinn is also stunning as Zampano, giving him a layer of almost undetectable vulnerability (like I said, the unseen). I also really enjoyed Richard Basehart's jovial portrayal of Il Matto, Zampano's circus rival. His character is really one of the most challenging to discern, but when one finds their impression of the man then, and only then, can they understand their feelings of Zampano and Gelsomina. He is really the crux in their relationship, and ones impression of Il Matto greatly influences their impressions of the two leads.

This film is truly an outstanding cinematic accomplishment and rests easily at the top of my personal favorite films of all time. It is beautifully shot, expertly paced, crisply directed, brilliantly acted and, above all else, marvelously written. It covers all of it's bases in a way that many films cannot.

This one is definitely essential!

The face in question belongs to the enchanting Giulietta Masina. And the movie is LA STRADA (1954), director Federico Fellini's haunting tale about the strange relationship between an innocent young waif and the boorish circus performer who takes her under his wing.

LA STRADA ("The Road") is one of the watershed movies of Italian cinema, and also launched the international careers of director Federico Fellini and his actress wife Giulietta Masina in the process. Amongst many accolades, the movie walked away with the 1956 Academy Award for 'Best Foreign Language Film'.

The story is one of the most haunting, heartbreaking ones you'll ever encounter; it will remain in your soul long after the credits have rolled. A charming, somewhat backward waif named Gelsomina (Giulietta Masina) is plucked from her carefree family home on the seashore and placed into the employment of Zampano (Anthony Quinn), a vagabond circus strong-man. Complications arise when Zampano's old adversary, a highwire artist named 'The Fool' (Richard Basehart) returns to the scene. What follows will prove fateful for the trio...

The heartrending performance of Giulietta Masina is pure perfection. Every glance, facial expression, physical gesture shows us exactly what is happening inside the head and heart of this most magical, haunting screen character. The audience goes along for the same emotional ride that the character of Gelsomina does. Federico Fellini fashioned this film as a showcase for his talented wife. Acclaimed performances in "Nights of Cabiria" and "Juliet of the Spirits" would follow in later years, and while Masina was always superbly good in anything she did, LA STRADA was and forever will be her best ever screen performance.

Zampano is a totally unsavoury character and the audience is never meant to find any kind of sympathy toward him. The most challenging, thankless assignment for any actor is to play such a character, but Anthony Quinn delivers what he can given the limits of the material. Richard Basehart is a lovely presence as 'The Fool', one of the lone adult characters who actually seems to care for the neglected Gelsomina. The musical score by Nino Rota is likewise so very haunting, particularly "Gelsomina's Theme" which recurs throughout the second half of the film.

If you want a film which illustrates--so movingly--the sheer joy and heartbreak of simply being alive, you must see LA STRADA. I guarantee you'll never be the same...

Concerning the story: the frail girl Gelsomina is sold to the bully Zampano, who treats her dismally. They tour the country with a circus, until the sad climax of the story.
What makes this movie so special are the two main characters, who deliver a tremendous performance. In addition, the movie is made in black and white, with harsh and sharp contours; a feeling of loneliness permeates the visuals, the actions and the dialogues. One scene jumps out that underscores the sadness of the story. As Zampano buys an icecream at a little stall towards the end of the movie, he doesn't lick at the cone. Instead he pushes it into his mouth and swallows it completely, without stopping to taste it. It is visuals like this that turn this movie into such a strong account of suffering people, lost in a harsh, lonely world.

Some time ago reviewed a couple of Fellini's films and decided to perform a huge retrospective of his production. So here I am reviewing his first great impact: "La Strada" (1954).
Since his earlier works, "La Dolce Vita" (1960) and the present movie thru "Fellini Satyricon" (1969) and "Amarcord" (1973) till his lasts "Ginger and Fred" (1986) and "The Voice of the Moon" (1990) Fellini has left a legacy treasure for film lovers and film makers.

Most of his films combine fantasy and reality in a rich mixture with no fixed boundaries. He displays his own personal conflicts in regard to religious belief; sex and love; youngsters' education; political and religious power; richness and poverty; all this themes and more are shown with a visceral approach.
The viewer will be attracted and repelled alternatively and at the end of each of his movies will go out of the theater (or the bed room or living-room) knowing that he/she has assisted to a unique piece of art show.

"La Strada" (The Road 1954) is still a constituent of the Italian "Neorealist" film school, showing the poorest places of Italy and its population. The influence of this movement will always emerge in Fellini's movies one way or the other.
Gelsomina is a poor dumb girl living at the sea shore when Zampano shows up "buying" her from her mother. She's engaged to replace her sister Rosa, dead at Zampano's service.
A peregrinate thru Italy's roads stopping at small towns' outskirts starts. Zampano performs his "chain braking" act while Gelsomina sounds the drum and collect contributions from the public.
A pitiful universe of "roads artists" is displayed in front of her uncomprehending eyes. She waits for Zampano's return time after time shivering at the edge of the road. Faithfully follows him disregarding offers from sympathetic souls to get away from the ogre. Finally tragedy traverses the screen piercing deeply into spectator's sensibility.

This is a stark film showing the deep sinews of human soul with unflinching stare. Yet as in all Fellini's creations there is compassionate regard toward these poor beings.

The film delivers superb acting pieces from Giulietta Masina and Anthony Quinn.
It is a sorrowful yet marvelous film to see!

Reviewed by Max Yofre.

The first time that I seen this movie was in 1980. I am a former movie projectionist yet still only 61,the trade is dying.It was when I broke in, in 1973. La Strada is the sadest movie I have ever seen. It still haunts me today. anchor

This is a film that should not be missed. It is Fellini's first, and Julietta Messina's first also It sounds all the notes that Fellini developed in his later films.The theme is the helplessness of both male and female archetypes in the face of their innate mode of functioning.
Antony Quinn is all muscle and primitive needs, Messina is compliant humorous but powerless. The Joker-angel figure offersLa Strada (The Criterion Collection) her hope which she is unable to grasp at.
The street people, the wayside performers, the scenery are beautifully filmed,
Nina Rota's music is unforgettable

This is a vivid film about a damaged young lady who is essentially sold like a slave to a wandering carney performer, played by Anthony Quinn. His act is to wrap himself in a chain and, expanding his chest, burst the iron fastening hook. He too is a damaged person, an alcoholic full of rage and clueless about how to get through life except by force and threat. While he is a callous brute with too much to prove, he also comes across as a pathetically lonely character. Though he mistreats his slave helper, he also cares for her, perhaps even loving her but unable to do anything to win her love except via his control,

This is a drama masterpiece on a human scale, typical of Italian neo-realism. It shows the emergence of Fellini's talent as a storyteller.

Warmly recommended.

I found this movie to be very sad. Guiletta Masina was marvelous in La Strada. A few times my eyes watered on the way she was treated in this movie by Quinn. Though an excellent movie, I will not watch it again. ( Way too sad for me ) Once again, I applaud G. Masina's acting.

Along with Dolce Vita, Satyricon, Amarcord, and 81/2, this is one of Fellini's best. These movies are different, one from the other, and cover the marvellous range Fellini has while remaining true to himself.Have not seen I Vitteloni which I understand also ranks among his best.Needless to say the quality of the transfer on this DVD is excellent.

This is, without a doubt, one of the best films ever made by Federico Fellini. The story is mesmerizing and the acting by all 3 leads, Anthony Quinn, Giulietta Masina and Richard Basehart, is without peer. To my mind, Fellini never came near the genuine pathos of this story of a brutish quasi-monster and his bought, semi-retarded "wife", whom he mistreats and ultimately drives away, in any of his other films. The final scene is throat-catching.