La strada (1954)

Calificación de los usuarios:

8.1/10   

Director:

Federico Fellini

Escritores:

Federico Fellini (story) &
Tullio Pinelli (story) ...

Fecha de Lanzamiento:

16 julio 1956 (USA)

Género:

Drama

Plot:

A carefree girl is sold to a traveling entertainer, consequently enduring physical and emotional pain along the way.

Plot Keywords:

Road | On The Road | Innocence | Famous Score | Sadism

Premios:

Won Oscar. Another 8 wins & 4 nominations

Comentarios de los usuarios:

Classic example where "less is always more".

Reparto

Anthony Quinn	...	Zampanò
Giulietta Masina	...	Gelsomina
Richard Basehart	...	Il Matto
Aldo Silvani	...	Signor Giraffa
Marcella Rovere	...	La Vedova
Livia Venturini	...	La Suorina

También conocida como:

The Road (USA) (literal English title)
La strada (Argentina) [es]

Duración:

108 min

País:

Italy

Idioma:

Italiano

Color:

Negro y Blanco

Sonido:

Mono (Western Electric Recording)

Clasificación:

Portugal:M/12 | New Zealand:R16 | Argentina:16 | Australia:G | Australia:M (alternate rating) | Chile:18 | Finland:K-10 (1986) | Finland:K-16 | Norway:16 | Sweden:15 | Switzerland:16 (canton of the Grisons) | West Germany:16 | Singapore:PG | Norway:15 (1995) | UK:PG (video rating) | UK:A (original rating)

Locaciones de Filmación:

Bagnoregio, Viterbo, Lazio, Italy

Compañía:

Ponti-De Laurentiis Cinematografica

Trivialidades:

Anthony Quinn said in an interview a few years before his death that he originally accepted a deal that would have paid him a percentage of the profits this film generated instead of an upfront salary. When his agent found out about it, the agent changed the deal and insisted an upfront salary and no percentage. Quinn said that decision cost him several million dollars.

Errores:

Continuidad: The shadows of the building and the characters in the scene at the building in the mountains changes from shot to shot and are inconsistent. For example, initially the shadows are from the left of screen from the vehicle to the building. When Gelsomina climbs out of the vehicle, her shadow goes in the opposite direction.

Citas:

The Fool: What a funny face! Are you a woman, really? Or an artichoke?

Conexiones de Película:

Apareció en Petites notes à propos du film 'Je vous salue, Marie' (1983) (V)

Classic example where "less is always more".

This is one of the most influential films of all time, it is the classical example, where "less" is always "more". The story is deceivingly simple and it feels at the beginning almost like a piece from "commedia del arte", however the master touch of Fellini's heart and vision talk to us directly through the canvas of Gesolmina's face (Giulietta Massina was his wife in real life). You don't need big words or a crafty developed script. This is like music, speaks directly it does not need translation even most non-Italian speakers find themselves more and more immersed in the visual aspects of this drama, it seems in many aspects surreal (I'll develop this point later) and distant but at the same time there is an underlying tension brought up by the close ups and the music revealing all those emotions much more close to our hearts than we are at first openly willing to admit. This is cinema at its best ladies and gentlemen. No special effects, no grandiose vistas, no colors, no extra help. The intimate nature of these characters feelings talk and paint more pictures than anything else can convey. Regarding the intimate relationship of Fellini and his movies there are already many of his little "secrets or eccentricities" that he imposes in all his films, they all have relevant hidden messages, such as the "white mysterious horse" and the haunting "trumpet melody" are just some of them. Those interested in Fellini's oeuvre should have the pleasure to uncover them with more of his viewing of what this all means, in same cases there is a definite reason in others he leaves it to your own devices and interpretation. He constantly teases us with contradictory emotions, sadness and laughter, complicated and simple, logical and absurd, brutish and angelical. Finally this film is like a great banquet, it seems to drag at he beginning and makes you think that is going to be too long and then at the end it seems too abrupt and you want it to continue, but most importantly leaves with us a savor that will linger in our minds for a long time, those who are sensitive to Fellini's vision will carry this for ever and hunger for more, those indifferent will dismiss it as an extravagant little piece and may be curios for another one. Once thing is for certain, nobody will ever forget Gesolmina's face.