La strada

La strada

DVD - 2003 | Italian
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Directed by Federico Fellini, the story of a fragile girl who falls in love with a brutal circus performer she was sold to by her mother.
Publisher: [S.l.] : Criterion : Janus Films, 2003.
ISBN: 9780780021976
Branch Call Number: DVD STR270
Characteristics: 2 videodiscs (108 min.) : sd., b&w ; 4 3/4 in.


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Jul 18, 2017

Winner of the Best Foreign Language Film at the Academy Awards

Apr 20, 2017

Federico Fellini had been making films for a few years, but with the 1954 release of La strada, the Italian director set himself on his way to becoming one of international cinema's household names. A delicate, immensely moving tale of love and loss between strongman Zampanò (Anthony Quinn) and his silent long-suffering charge, Gelsomina (Giulietta Masina), La strada introduced many viewers to two of the filmmaker's lasting passions the circus and Masina, his wife.

Apr 20, 2017

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.

Apr 01, 2017

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Radharc Oct 04, 2016

One of Fellini's finest works, "La Strada" is a film rich in realism, simple joy, and utter heartbreak. Easily one of the lost influential films of all-time.

Sep 16, 2016

One of Fellini's many masterpieces- if you're unfamiliar with his work this is a great place to start.

Nov 01, 2015

Glad I watched it - Masina puts on some terrific faces. The circus is fun, but Quinn is pretty rough. Interesting unanticipated (on my part) ending.

d2013 May 31, 2015

Powerful film with great performances. Very touching story.

Jan 12, 2015

A masterpiece of sure-footed, deeply-textured film-making, with some strong acting to back it up. This harks to before Fellini's whackier period, when he was no longer afraid in his films to go wild and alienate his audience completely.
This version has been dubbed back into Italian after Anthony Quinn and Richard Baseheart were called in to play central roles in English. (It's imperfect for being dubbed, but this version is said to better than the one where everyone else was translated into English.)
The ferocity of this film is clear in the sure directorial hand, the solid acting (Gulietta Masina was amply awarded) despite the quirky characters, and the realist approach to the Godot-like landscape of the after-war years.
Still, it struck me as enigmatic, cryptic for my sensibilities. I kept waiting for something in the plot to unravel the mystery of the characters, but specifically in terms of their backgrounds. For one thing, Zampanó and the Fool shared a past that involved a woman's death, but that is never treated explicitly. However, the addition in this Criterion version of a brief commentary by Martin Scorsese was quite helpful. He's long admired this work, and argues that it's the stance or life-approach of these characters which deserves focus, not so much any resolutions in the plot. The bastardy of the one, the love-hunger of the other, the frivolity of the third--not so much their specific interactions in the story merited attention. This gave meaning to the end, where we commiserate with the survivor of the events, who squandered his chances, and was left with only a tragic regret.
Even at the gut level, however, this flick works its way well into any attentive soul, and probably resonates no less now than in the '50s, when it was first out--due to that artistic sureness, the solid acting, the stunning black-and-white textures, the zany world of the circus, never stable and always full of masks and poses--like you and me.
Very strongly recommended.

Dec 14, 2014

Life is indeed a circus in what many critics consider to be Fellini’s greatest film alongside "La Dolce Vita". As young naif and world-weary drifter ramble across a post WWII landscape of empty fields and dusty grey villages their journey becomes an allegory for human existence; a raucous wedding celebration here, a sombre religious pageant there and everywhere subtle reminders of our own mortality. Fellini achieves a marvelous sense of balance and texture, suspending the wide-eyed innocence of Gelsomina (appropriately bedecked in clownish makeup) between Zampono’s self-loathing rage and the Fool’s flighty recklessness. There is a marvelous feeling of growth to her character as every person she encounters on the road leaves their mark, and we see in her sad eyes the dawning awareness of a deeper truth. But it is in the film’s bittersweet ending that Fellini weaves a small bit of theatrical magic, forcing us to place our sympathies where we least expected while at the same time giving us cause to view his film from an entirely different angle.

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Sep 07, 2012

Il Matto - The Fool (to Gelsomina): "What a funny face you have. Are you sure you're a woman? You look more like an artichoke."

Sep 07, 2012

Gelsomina: "Once all I thought about was going home. But I don't care so much anymore. Now I feel like my home is with you." Zampanò: "Oh yeah? What a discovery. And with all that poverty at your house to tempt you."


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