It holds a 97% rating on the review aggregator website Rotten Tomatoes from 31 reviewers who, on average, scored it 8.7 on a scale of 10.
[78] (Ebert, himself, disagrees, seeing La Strada as "part of a process of discovery that led to the masterpieces La Dolce Vita (1960), 8 1/2 (1963) and Amarcord (1974)". The film however is ineffective at times and not as powerful as Nights of Cabiria. "[30], Under Fellini's agreement with his producers, budget overruns had to come out of his own pocket, cutting into any profit potential. [82], In 1995, the Catholic Church's Pontifical Commission for Social Communications issued a list of 45 films representing a "...cross section of outstanding films, chosen by a committee of twelve international movie scholars." "[61], Reviewing for Corriere della Sera, Arturo Lanocita argued that the film " the impression of being a rough copy that merely hints at the main points of the story ... Fellini seems to have preferred shadow where marked contrast would have been more effective. [38] It cost $25,000 to dub La Strada into English, but after the film started to receive its many accolades, it was re-released in the United States on the art-house circuit in its Italian version, using subtitles. Rota's main theme was adapted into a 1954 single for Perry Como under the title "Love Theme from La Strada (Traveling Down a Lonely Road)", with Italian lyrics by Michele Galdieri and English lyrics by Don Raye. Looking for a movie the entire family can enjoy? 'No, there, stop, turn, look at her, look at her. [97] Twelve years later, the composer expanded the film music to create a ballet, also called La Strada.

A fluid, unconnected and sometimes chaotic procession of scenes detailing the various people and events of life in Italy's capital, most of it based on director Federico Fellini's life. He found the film "bitter, yet full of hope. Oh, the poor wretch! |, May 15, 2017 Zampanò makes his living as an itinerant street performer, entertaining crowds by breaking an iron chain bound tightly across his chest, then passing the hat for tips. Rota, unhappy with that plan, wrote an original motif (with echoes of the "Larghetto" from Dvořák's Opus 22 Serenade for Strings in E major[51]) with rhythmic lines matched to Corelli's piece that synchronize with Gelsomina's movements with the trumpet and Il Matto's with the violin.[52]. La strada (lit. [20] When Masina introduced Quinn to her husband, the actor was disconcerted by Fellini's insistence that the director had found his Zampanò, later remembering: "I thought he was a little bit crazy, and I told him I wasn't interested in the picture, but he kept hounding me for days. With La strada, Fellini left behind the familiar signposts of Italian neorealism for a poetic fable of love and cruelty, evoking brilliant performances and winning the hearts of audiences and critics worldwide. It is a program, to show only certain aspects of life". Finally, she rebels and leaves, making her way into town. The image is an example of a ticket confirmation email that AMC sent you when you purchased your ticket.

| Rating: 5/5 Sad story of a waif, Gelsomina, who is sold by her mother to Zampano for 10,000 lire and a few kilos of food. Symbols, metaphors, and larger-than-life performances hold sway, and moments of bizarre if inconsequential charm abound. [33], Fellini was a notorious perfectionist,[34] and this could be trying for his cast.
His first choice was the actor Moraldo Rossi, who was a member of Fellini's social circle and had the right type of personality and athletic physique, but Rossi wanted to be the assistant director, not a performer. As a result, he is briefly jailed, and both men are fired from the travelling circus. He was disturbed, confused. A waifish prostitute wanders the streets of Rome looking for true love but finds only heartbreak.

garykmcd. [66], In his March 1955 review for Arts magazine, Jean Aurel cited Giulietta Masina's performance as "directly inspired by the best in Chaplin, but with a freshness and sense of timing that seem to have been invented for this film alone." "[15] Not long afterwards, Quinn spent the evening with Roberto Rossellini and Ingrid Bergman, and after dinner they watched Fellini's 1953 Italian comedy-drama I Vitelloni. What? Before Zampanò's release from prison, Il Matto proposes that there are alternatives to Gelsomina's servitude, and imparts his philosophy that everything and everyone has a purpose – even a pebble, even she. etc. Amelia and Pippo are reunited after several decades to perform their old music-hall act on a TV variety show. Your AMC Ticket Confirmation# can be found in your order confirmation email. The imagery was superb but the concept was not. A harried movie director retreats into his memories and fantasies.

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