Juliet of the Spirits (Giulietta degli Spiriti)

1965

Juliet of the Spirits (Giulietta degli Spiriti)

Critics Consensus

No consensus yet.

79%

TOMATOMETER

Total Count: 28

85%

Audience Score

User Ratings: 6,541
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Movie Info

Believing her husband to be unfaithful, Giulietta is advised by a mystic to "trust in the spirits." Before long, she is conjuring up the ghosts of past friends, who advise her to cut her matrimonial strings. But Giulietta is too reliant on her husband's approval to succumb to hedonism.

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Cast

Giulietta Masina
as Giulietta Boldrini
Mario Pisu
as Giorgio
Sandra Milo
as Suzy/Iris/Fanny
Caterina Boratto
as Juliet's Mother
Milena Vukotic
as Juliet's Maid
José Luis de Villalonga
as Giorgio's friend
Seyna Seyn
as Masseuse
Edoardo Torricella
as Russian Teacher
Fred Williams
as Arabian Prince
Felice Fulchignoni
as Don Raffaele
Mario Conocchia
as Family Lawyer
George Ardisson
as Dolores' Model
Nadir Moretti
as Dolores' Model
Alba Cancellieri
as Juliet as a Child
Sabrina Gigli
as Granddaughter
Rosella di Sepio
as Granddaughter
Lou Gilbert
as Grandfather
Elisabetta Gray
as Juliet's Maid
Irina Alexeieva
as Susy's Grandmother
Alessandra Mannoukine
as Susy's Mother
Gilberto Galvan
as Susy's Chauffeur
Yvonne Casadei
as Susy's Maid
Hildegarde Golez
as Susy's Maid
Dina DeSantis
as Susy's Maid
Dany París
as Desperate Friend
Raffaele Guida
as Oriental Lover
Alberto Plebani
as Lynx-Eyes
Federico Valli
as Lynx-Eyes' Agent
Remo Risaliti
as Lynx-Eyes' Agent
Grillo Rufino
as Lynx-Eyes' Agent
Asoka Rubener
as Bhisma's Helper
Sujata Rubener
as Bhisma's Helper
Walter Harrison
as Bhisma's Helper
Anne Francine
as Psychoanalyst
Massimo Sarchielli
as Valentina's Lover
Bob Edwards
as Dolores' Model
José Luis de Vilallonga
as Giorgio's Friend
Cesarino Miceli Picardi
as Giorgio's Friend
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News & Interviews for Juliet of the Spirits (Giulietta degli Spiriti)

Critic Reviews for Juliet of the Spirits (Giulietta degli Spiriti)

All Critics (28) | Top Critics (10)

Audience Reviews for Juliet of the Spirits (Giulietta degli Spiriti)

  • Nov 06, 2011
    In comparison to Fellini's two previous movies, 'Juliet of the Spirits' is more emotionally resonant - also more structured. In '8 1/2' a filmmaker was going through a surrealist nightmare, this time a woman is going through one (Fellini wrote it for his wife, but it's just Fellini disguised not too subtly), this time in vivacious color, and the surrealist dreams and images are almost as fascinating as those seen in '8 1/2'. The score is classic, too, it's my personal favourite Fellini/Rota collaboration - no matter my undying love for 'La Dolce Vita's' score -, it's peculiar and at times overwhelming. 'Juliet of the Spirits' is an astonishing circus of colours, avant-garde juxtapositions, jokes, surreal mise-en-scenes, extraneous faces and characters, and everything we've come to know as Felini-esque. It's an orgy of delights and tied in second with 'La Dolce Vita' as my favourite Fellini movie, '8 1/2' coming in first.
    Jonny B Super Reviewer
  • Jul 31, 2011
    "My wife thinks I'm cheating (and I am, I'm a great artist, I belong to everyone, how can anyone expect me to stay with only one, even my wife?) so I'll make a film, a great film ... it's about a wife who thinks her husband is cheating. Who do I get to play the wife? My wife, of course. It's so twisted, so vain, they'll call it genius." It may not be true, but its what I thought watching this empty exercise in visual overstimulation: this is the lie a cheating husband tells his loyal spouse.
    Kevin M. W Super Reviewer
  • Jan 01, 2010
    Fellini's first film in color is this brilliant LSD-infused satire that enchants us with its gorgeous art direction and colorful costumes, while using a magnificent symbolism to depict the psyche of a passive woman who needs to break free from the bonfire of her married-life martyrdom.
    Carlos M Super Reviewer
  • Jan 19, 2009
    Semi-autobiographical piece put forth by Fellini and his wife, Giulietta Masina. It's the story of Giulietta (Giulietta), the spouse of a wealthy socialite who is forced to come to terms with her fleeting youth and her husband's infidelity. True to his nature, Fellini uses an abundance of symbolism, abstract scripting and flamboyant characters to tell the story. For me, it's all a tad overwhelming. Maybe it's because this was his first color film, but there are so many extravagant visuals that it's hard to pay attention to the characters. I much prefer Fellini's earlier pictures where he cares about the story a little more and the scenery a little less.
    Randy T Super Reviewer

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