In his ludicrously heightened facsimile of an Italian suburb, Fellini turns front lawns into shapeshifting dreamscapes and upper-middle-class homes into modernist labyrinths whose contours are so oppressive that Giulietta must escape into even more vibrant daydreams and flashbacks. The film is specious and hollow, in addition to being very boring and its failures bring into focus. Fellinis first film in color, Juliet of the Spirits stars his wife and muse Giulietta Masina as a woman who turns to spiritualism to cope with her. Fellinis first Technicolor feature film, directed in 1965, plays like a womans own 8 1/2, Fellinis (luminously black and white) fantasy-confessional film from 1963. On the other hand, as the first foray into Technicolor from a one-of-a-kind visual thinker, Juliet of the Spirits is a veritable feast for the senses, tossing off dazzling images with such frequency that it can be hard to keep up. As a work of sympathetic projection, it’s perhaps miscalculated, as the film suggests that the greatest suffering of Masina’s heroine, Giulietta Boldrini, is in her absence of both spontaneity and promiscuity-qualities practiced regularly by her hard-partying neighbor, Susy (Sandra Milo), who in her brashness and sexiness registers as an idealized Fellini woman. Giulietta Masina plays a betrayed wife whose inability to come to terms with reality leads her along a hallucinatory journey of self-discovery. Not the best picture from either, Fellini's La Strada and Nights of Cabiria make far better use of Masina's sweet and charming comic talents.Facing accusations of excessive self-mythologizing after a pair of films in which he cast Marcello Mastroianni as a thinly veiled alter ego, Fellini fashioned Juliet of the Spirits as a way to honor the subjectivity of his wife, Giulietta Masina, who plays a demure housewife dogged by suspicions of her husband’s (Mario Pisu) philandering. Cinematographer Gianni di Venanzo’s masterful use of Technicolor transforms JULIET OF THE SPIRITS, Fellini’s first color feature, into a kaleidoscope of dreams, spirits, and memories. There’s just nothing much that has any freshness or relevant insights in this personal fantasy film, that takes us into the head of Fellini’s actress wife Giulietta Masina who plays Julieta bored.
For Fellini, she is embracing her freedom for Masina, she was descending into loneliness. It’s an overly indulgent but visually splendid piece of eye candy that hides behind its gaudy exteriors an emptiness and lack of vision. Apparently, the husband and wife fought on the set, and it is debatable as to what the ending scene means, where Juliet walks off into the distance. The parallel relationship of the fictional Juliet and Giorgio with Masina and Fellini is further complicated by the presence of the flamboyant Suzy ( Sandra Milo), who appeared in 8 1/2 as the mistress. Masina's talents are almost mocked as she seems uncomfortably placed in the realm of her husband's fantasies while playing a wronged wife. However, the story suffers compared to the vivid appeal of the visual spectacle. Memorable moments - like the seaside parade and a bed with a slide into a pool - show the director indulging in his gift for painting bizarre images. Intending to reveal the fantasies and inner world of Juliet (played by Fellini's wife, Giulietta Masina), the fantastic events still seem to be streaming from Fellini himself. 'Juliet Of The Spirits' ( Dan McKie Vocal Mix) - 8:17 'Juliet Of The Spirits' (Glenn Morrison & Bruce Aisher Mix) - 8:01 'The Spirits Juliet' (Morgan Page Mix) - 6:57 Diagrammer. The first Fellini film in color, Juliet of the Spirits is one of the director's lesser-known works and one with enigmatic meanings.
0 kommentar(er)
