This makes the film considerably removed from Italian Neorealism, in which tradition Fellini began his career.
In La Dolce Vita, we are given a glimpse of a filmmaker that has moved far neo-realist roots. While Nights Of Cabiria was certainly a departure from neo-realism, and far less neo-realist than La Strada, which was just one picture before this one it certainly had many more neo-realist elements the plight of the poor and oppressed than La Dolce Vita.
A film following a protagonist from party to party among the rich is practically a slap in the face to the neorealist movement Therefore it is often said that Nights of Cabiria marks the conclusion of the first phase of his career and La Dolce Vita the beginning of the next. While Nights Of Cabiria has a tighter, more traditional narrative structure, La Dolce Vita is practically a series of short films.
Each passing episode carries a meaning of its own that adds to the overall meaning of the picture.
Both films contain the typical Fellini clowns, ethnic performers, false appearances of the Virgin Mary, as well as other religious symbolism, nightclubs, prostitutes, stone houses by the sea, processions, and scaffolding outlined against the dawn.
These may be symbolic or merely personal touches from his imagination. I feel that it is necessary to discuss the visual aspects of these films.
Both films are a huge leap, cinematically speaking, from his other films. In Nights of Cabiria, Fellini establishes his first signs of commitment to emphasizing the film through pictures.
Camera movement becomes more complex; camera composition becomes more important and symbolic. In La Dolce Vita, we have even more advanced use of the camera. Camera movement becomes so intricately choreographed it becomes almost like dance.
The frame allows people to come and leave as they please, it follows people and then returns to the action, and it quite simply has a mind of its own. Great advances were also taken in the lighting in these two films. Nights Of Cabiria is really the first Fellini film where we start to see expressive or dramatic lighting.
However, the overall color tone is mostly gray. In La Dolce Vita we become much more involved with rich blacks and whites. Both films start focused on our main character.
Cabiria stands in the middle of a field, dwarfed by her surroundings. Marcello is spotted hovering above Rome in a helicopter while pursuing earthly desires. This reveals a great deal about the characters.
Fellini has a fascination in exploring the dynamics between airborne or heavenlyand earthbound imagery. Marcello is constantly descending and ascending stairs.
While this may seem to be heavy-handed symbolism, Fellini uses it so wisely that is comes across absolutely magnificently. It tells us of the loose religious and moral values that the film follows. She is then rescued and instantly becomes aware of what had happened. Both sequences reflect almost the entire story.
Cabiria awakens; Marcello flutters away, leaving the sight of the earthbound camera. In fact, the last shot of each film is quite telling as well. Cabiria is shot much closer than at first, from the waist up.Although the loneliness theme does link Nights of Cabiria with Fellini’s two previous films of the trilogy, there are interesting narrative similarities between Nights of Cabiria and Fellini’s subsequent outing, La Dolce Vita () .
Those two films both present a sequence of expressionistic episodes, each of which provides a distinct thematic context for the frustrated protagonist’s. compare and contrast. log in × scroll to top. Home; A Comparison of the Films, Nights of Cabiria and La Dolce Vita PAGES 4.
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4. Nights of Cabiria (Le Notti di Cabiria) () La Dolce Vita and 8 1/2 seem to often be in the spotlight but Fellini’s Nights of Cabiria is amongst the director’s greatest works and many of the stylistic elements, which those aforementioned movies are renowned for, were clearly already developing here.
The first shot of La Dolce Vita tells us so much about the state of Roman society, about Marcello's life and pursuits. It tells us of the loose religious and moral values that the film follows.
The first shot of Nights Of Cabiria shows us a woman that is taken advantage of and pushed in the river, symbols of baptism and redemption, which constantly reappear in Fellini's films. Nights of Cabiria (Le Notti di Cabiria, ) was one of Federico Fellini’s most popular films.
It won the US Academy Award for Best Foreign Language Film, which was Fellini’s second straight Oscar in that category, since his La Strada had also won that award in Nights of Cabiria and La Dolce Vita left me absolutely stunned, in awe of what I had just witnessed.
I found both of these films to be unspeakably beautiful, and in my opinion, the best out of all Fellini's major motion pictures which I have attempted to view this semester.