La Strada (The Road) (1954)
Average Rating: 8.7/10
Reviews Counted: 31
Fresh: 30 | Rotten: 1
No consensus yet.
Average Rating: 7.7/10
Critic Reviews: 6
Fresh: 5 | Rotten: 1
No consensus yet.
Average Rating: 4.3/5
User Ratings: 20,605
Acclaimed Italian filmmaker Federico Fellini drew on his own circus background for the 1954 classic La Strada. Set in a seedy travelling carnival, this symbolism-laden drama revolves around brutish strongman Zampano (Anthony Quinn), his simple and servile girlfriend Gelsomina (Giulietta Masina, Fellini's wife), and clown/aerialist Matto (Richard Basehart). Appalled at Zampano's insensitive treatment of Gelsomina, the gentle-natured Matto invites her to run off with him; but Gelsomina, like a
Sep 6, 1954 Wide
Nov 18, 2003
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Symbols, metaphors, and larger-than-life performances hold sway, and moments of bizarre if inconsequential charm abound.
Signor Fellini has used his small cast, and, equally important, his camera, with the unmistakable touch of an artist. His vignettes fill his movie with beauty, sadness, humor and understanding.
As French critic Andre Bazin pointed out, 'The Fellini character does not evolve; he ripens.' And so do his movies.
The two lead performers...are marvelous and the imagery is gorgeous, with Fellini's precision cutting and dramatic lighting pointing the way to 8 1/2
Fellini once described this masterpiece, which marks his break with the strictures of neo-realism, as "the complete catalogue of my mythical world;" It could be seen as another, poetic version of Beauty and the Beast fable.
Two unforgettable performances anchor one of Fellini's most powerful films.
Fellini made several films with actress Giulietta Masina, whom was also his wife, but the character of Gelsomina is the one which, over the years, has been most fondly spoken of and written about.
Leaves me cold no critical account of it I have read has struck me as compelling or illuminating.
The searing, tearful tell that won Fellini his best Oscar for best foreign film and may be his finest masterpiece.
Has an unmistakable other-ness to it, as it is an early precursor to the sort of magical realism that would take hold in Fellini's late-career efforts.
A fairly straightforward story whose poignancy is accentuated by Masina's delicate performance and Nino Rota's exquisite score.
One of Fellini's weakest films, but no less with all his basic assurances of competency.
An overwhelming humanism underscores the whole film and leaves its ultimate meaning up to interpretation.
Federico Fellini created a tragic story which is not depressing, but rather exhilarating and inspiring.
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