La Dolce Vita (Federico Fellini) 1960 torrent

Writing credits (in alphabetical order)

Federico Fellini screenplay
Federico Fellini story

Ennio Flaiano screenplay
Ennio Flaiano story

Pier Paolo Pasolini uncredited
Tullio Pinelli screenplay
Tullio Pinelli story
Brunello Rondi screenplay

Cast (in credits order) verified as complete
Marcello Mastroianni .... Marcello Rubini
Anita Ekberg .... Sylvia
Anouk Aimée .... Maddalena (as Anouk Aimee)
Yvonne Furneaux .... Emma
Magali Noël .... Fanny (as Magali Noel)
Alain Cuny .... Steiner
Annibale Ninchi .... Marcello's father
Walter Santesso .... Paparazzo
Valeria Ciangottini .... Paola
Riccardo Garrone .... Riccardo, the Villa Owner
Ida Galli .... Debutante of the Year
Audrey McDonald .... Jane
Polidor .... Clown
Alain Dijon .... Frankie Stout
Enzo Cerusico .... Newspaper photographer
Giulio Paradisi .... Newspaper photographer
Enzo Doria .... Newspaper photographer
Enrico Glori .... Nadia's Admirer
Adriana Moneta .... Ninni the Prostitute
Massimo Busetti .... Lying Child of The Miracle
Mino Doro .... Nadia's lover
Giulio Girola .... Police Commissioner
Laura Betti .... Laura
Nico .... Nico, top-model (as Nico Otzak)
Domino .... Transvestite dancer
Carlo Musto .... Transvestite
Lex Barker .... Robert
Jacques Sernas .... Matinee Idol
Nadia Gray .... Nadia

Directed By: Federico Fellini


Throughout the history of cinema there have been actors and filmmakers who shaped and transformed the vocabulary of filmed storytelling. Without question, Federico Fellini was one of those great masters, a director whose influence was felt globally. And he has a trump card over most other famous auteurs — can any other director claim to have added a word to the international vocabulary? After all, at virtually every point on the globe, when a celebrity is followed (and occasionally stalked) by photographers, these culture-vultures are referred to as "paparazzi," which originated from a character in Fellini's 1960 masterpiece La Dolce Vita ("The Sweet Life"). It's a variation on the name of one of the photographers in the film, Paparazzo — played by Walter Santesso — who acts just as one expects for someone with his moniker. And that the film could add to dictionaries the world over bespeaks its international acclaim. The hugely successful Dolce Vita was a turning point in Fellini's career: It was his first picture to earn widespread attention, netted his first nomination for the Best Director Oscar, and yielded both fame and infamy (the film was condemned by the Catholic church for its libidinous and sacrilegious content). But unlike other taboo-breaking movies that seem modern and hip in their era's context — usually to become antiquated a few years later — La Dolce Vita is still potent, expressing an ennui that remains contemporary. Told through an episodic narrative that is frequently set during twilight hours of evenings out, Marcello (Marcello Mastroianni) is a reporter for a tabloid who has wheedled his way into the most happening scenes in Rome. Often finding himself "spending time" with Maddalena (Anouk Aimee), he's been living with the manic Emma (Yvonne Furneaux), whose suicide attempts underscore the barrier their relationship has reached; she loves him more than he loves her, and it's turned her into a clingy, matronly figure. But Marcello doesn't help matters — he's often chasing women, and his habits have him out one night with Sylvia (Anita Ekberg), a flighty starlet with a bruiser of a boyfriend. Sylvia and Marcello's evening leads to the film's most renowned sequence, in which Sylvia decides to wade in a fountain for no apparent reason. Marcello also spends time with his friend Steiner (Alain Cuny), who has a wife and two children and seems to be living the perfect life, but Steiner expresses concerns that he's abandoned his dreams by settling down. Marcello is surprised by an unexpected visit by his father, and the two spend a night out, after which his dad goes home with a dancer, and Marcello realizes how little he knows him. Work often intrudes, sending Marcello on a trip with Emma to document two children who say they saw the Virgin Mary in a tree (their claims appear false); it's a sequence that bespeaks the greatest difference between the two — she's a believer, he a cynic. But the further Marcello goes along, the more perturbed he becomes with his life and himself; his relationship with Emma disintegrates while Maddalena proposes to him, only to sleep with another man moments later. The film veers into even darker terrain when a tragedy occurs that irrevocably changes Marcello.


La Dolce Vita found Fellini in his prime, particularly in this particular era (his next feature would be 8-1/2), and his sense of camera and framing (of the CinemaScope film) is stunning. But for those with a reticence towards Fellini's fascination with both circuses and the grotesque, La Dolce Vita could be typed "The Fellini film for people who don't like Fellini
films."