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recalled being particularly proud of a certain scene in which his performance had earned applause from onlookers on the set, only to receive a phone call from
Fellini late that night informing him that they would have to re-do the entire sequence because Quinn had been too good: "You see, you're supposed to be a bad, a terrible actor, but the people watching applauded you. They should have laughed at you. So in the morning we do it again." As for Masina, Fellini insisted that she re-create the thin-lipped smile he had seen in her childhood photographs. He cut her hair by putting a bowl on her head and shearing off anything that wasn't covered up, afterwards plastering what remained with soap to give it a "spiky, untidy look", then "flicked talc into her face to give it the pallor of a
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certain images: snow silently falling on the ocean, various compositions of clouds, and a singing nightingale. At that point, Fellini sketched these images, a habitual tendency that he claimed he had learned early in his career when he had worked in provincial music halls and had to draw the characters and sets. Finally, he reported that the idea first "became real" to him when he drew a circle on a piece of paper to depict
Gelsomina's head, and he decided to base the character on the actual character of Giulietta Masina, his wife of five years at the time: "I utilized the real Giulietta, but as I saw her. I was influenced by her childhood photographs, so elements of Gelsomina reflect a ten-year-old Giulietta."
501:, a sort of cart covered in tarpaulin ... A tiny woman was pushing the cart from behind. When he returned to Rome, he told me what he'd seen and his desire to narrate their hard lives on the road. 'It would make the ideal scenario for your next film,' he said. It was the same story I'd imagined but with a crucial difference: mine focused on a little traveling circus with a slow-witted young woman named Gelsomina. So we merged my flea-bitten circus characters with his smoky campfire mountain vagabonds. We named Zampanò after the owners of two small circuses in Rome: Zamperla and Saltano.
523:, he began to weep, raising Fellini's hopes, only to have them dashed when the producer announced that the screenplay was like great literature, but that "as a film this wouldn't make a lira. It's not cinema." By the time it was fully complete, Fellini's shooting script was nearly 600 pages long, with every shot and camera angle detailed and filled with notes reflecting intensive research. Producer Lorenzo Pegoraro was impressed enough to give Fellini a cash advance, but would not agree to Fellini's demand that Giulietta Masina play Gelsomina.
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music in many scenes; 3. different ambient sound in some scenes, as well as changes in the editing of ambient sound; 4. elimination of some dialogue." In the
English version, Quinn and Basehart dubbed their own roles, but Masina was dubbed by another actress, a decision that has been criticised by Van Order and others, since, by trying to match the childlike movements of the character, the sound editors provided a voice that is "childishly high, squeaky and insecure". It cost $ 25,000 to dub
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1195:, "especially Zampanò." Anthony Quinn found working for Fellini invaluable: "He drove me mercilessly, making me do scene after scene over and over again until he got what he wanted. I learned more about film acting in three months with Fellini than I'd learned in all the movies I'd made before then." Long afterwards, in 1990, Quinn sent a note to the director and his co-star: "The two of you are the highest point in my life -- Antonio."
356:, dance a bit, and clown for the audience. Despite her willingness to please, he intimidates her, forces himself upon her, and treats her cruelly at times. She develops a tenderness for him that is betrayed when he goes off with another woman one evening, leaving Gelsomina abandoned in the street. Yet here, as throughout the film, even in her wretchedness, she manages to find beauty and wonder, aided by some local children.
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781:, Fellini's long-time assistant, has described the director's typical procedure regarding dialogue during filming, a technique he called the "number system" or "numerological diction": "Instead of lines, the actor has to count off numbers in their normal order. For instance, a line of fifteen words equals an enumeration of up to thirty. The actor merely counts till thirty: 1-2-3-4-5-6-7. etc." Biographer
1191:: "Above all, because I feel that it is my most representative film, the one that is the most autobiographical; for both personal and sentimental reasons, because it is the film that I had the greatest trouble in realizing and that gave me the most difficulty when it came time to find a producer." Of all the imaginary beings he had brought to the screen, Fellini felt closest to the three principals of
1606:, a set of films produced by the Italian film industry during the post-World War II period, particularly 1945–1952, and characterized by close attention to social context, a sense of historical immediacy, political commitment to progressive social change, and an anti-Fascist ideology. Although there were glimpses of certain lapses in neorealistic orthodoxy in some of his first films as a director,
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were problems during production, including insecure financial backing, problematic casting, and numerous delays. Finally, just before the production completed shooting, Fellini suffered a nervous breakdown that required medical treatment so that he could complete principal photography. Initial critical reaction was harsh, and the film's screening at the
587:. 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." Not long afterwards, Quinn spent the evening with
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mysticism and preoccupation with "pure style". Fellini vigorously responded to this criticism: "Certain people still think neorealism is fit to show only certain kinds of reality, and they insist that this is social reality. It is a program, to show only certain aspects of life". Film critic
Millicent Marcus wrote that "
1586:, at the center of a debased culture once again: a spiritually abandoned savage, who, trudging in a circle, makes a show of breaking voluntarily assumed chains--his destiny to burrow at last in shifting sand with the tide coming in and the sky bereft of illusion, having rejected the Clown and destroyed the Fool in himself."
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to the visible reality of the scene. As an example, ducks and chickens appear on the screen throughout
Gelsomina's conversation with the nun, but, reflecting the girl's growing sense of enlightenment concerning her place in the world, the quacking and clucking of barnyard fowl dissolves into the chirping of songbirds.
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convinced the local priest to move a celebration of the town's patron saint on 8 April up by a few days, thus securing the presence of some 4,000 unpaid extras. To guarantee that the crowd did not dissipate as the hours passed, Fellini instructed assistant director Rossi to shout "Get the rooms ready for
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Fellini attains a summit rarely reached by other film directors: style at the service of the artist's mythological universe. This example once more proves that the cinema has less need of technicians—there are too many already—than of creative intelligence. To create such a film, the author must have
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Under
Fellini's agreement with his producers, budget overruns had to come out of his own pocket, cutting into any profit potential. Fellini recounted that when it became clear there was insufficient funding to finish the picture, Ponti and De Laurentiis took him to lunch to assure him that they would
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Funding shortages required
Giacosi to improvise in response to Fellini's demands. When filming continued into spring, Giacosi was able to re-create the wintry scenes by piling thirty bags of plaster onto all the bedsheets he could find to simulate a snowscape. When a crowd scene was required, Giacosi
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Despite an extremely tight budget, production supervisor Luigi
Giacosi was able to rent a small circus run by a man named Savitri, a strongman and fire-eater who coached Quinn on circus jargon and the technical aspects of chain-breaking. Giacosi also secured the services of the Zamperla Circus, which
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Production started in
October 1953, but had to be halted within weeks when Masina dislocated her ankle during the convent scene with Quinn. With shooting suspended, De Laurentiis saw an opportunity to replace Masina, whom he had never wanted for the part and who had not yet been signed to a contract.
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as "a complete catalogue of my entire mythological world, a dangerous representation of my identity that was undertaken with no precedent whatsoever". As a result, the film demanded more time and effort than any of his other works, before or later. The development process was long and tortuous; there
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in New York, without any involvement by
Fellini. Thomas Van Order has identified dozens of changes made in the English version, classifying the alterations into four categories: "1. lower volume of music relative to dialogue in the English version; 2. new musical selections and different editing of
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Fellini scholar Thomas Van Order has pointed out that Fellini is equally free in the treatment of ambient sound in his films, preferring to cultivate what Chion called "a subjective sense of point of audition", in which what is heard on screen mirrors a particular character's perceptions, as opposed
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Some years later, he overhears a woman singing the very tune Gelsomina often played. He learns that the woman's father had found Gelsomina on the beach and kindly taken her in. However, she had wasted away and died. Zampanò gets drunk, gets in a fight with the locals, and wanders to the beach, where
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On an empty stretch of road, Zampanò comes upon Il Matto fixing a flat tire. As Gelsomina watches in horror, the two men begin to fight; it ends after the strongman punches the clown on the head several times, causing the fool to hit his head on the corner of his car's roof. As Zampanò walks back to
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In a 1957 interview, Fellini reported that Masina had received over a thousand letters from abandoned women whose husbands had returned to them after seeing the film and that she had also heard from many people with disabilities who had gained a new sense of self-worth after viewing the film: "Such
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review, A.H. Weiler was especially complimentary of Quinn: "Anthony Quinn is excellent as the growling, monosyllabic and apparently ruthless strong man, whose tastes are primitive and immediate. But his characterization is sensitively developed so that his innate loneliness shows through the chinks
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The narrative is light and harmonious, drawing its essence, resilience, uniformity and purpose from small details, subtle annotations and soft tones that slip naturally into the humble plot of a story apparently void of action. But how much meaning, how much ferment enrich this apparent simplicity.
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has commented on the usefulness of such a system: "It helps pinpoint an instant in the speech where he wants a different reaction. 'Go back to 27,' he'll tell an actor, 'but this time, smile.'" Since he didn't need to worry about noise while shooting a scene, Fellini kept up a running commentary
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as Zampanò, but Fellini refused these choices. Giulietta Masina had been the inspiration for the entire project, so Fellini was determined never to accept an alternative to her. For Zampanò, Fellini had hoped to cast a nonprofessional and, to that end, he tested a number of circus strongmen, to no
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has observed that Fellini particularly exploited the tendency of Italian films of the post-war period to allow considerable freedom in the synching of voices to lip movements, especially in contrast to Hollywood's perceived "obsessive fixation" with the matching of voices to mouths: "In Fellinian
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and that recur regularly throughout the film. To these are added a fourth recurring theme that appears in the very first sequence, after Gelsomina meets Zampanò, and is often interrupted or silenced in his presence, occurring less and less frequently and at increasingly lower volumes as the film
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As was the common practice for Italian films at the time, shooting was done without sound; dialogue was added later along with music and sound effects. As a consequence, cast members generally spoke in their native language during filming: Quinn and Basehart in English, Masina and the others in
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student seminar, Quinn spoke of Fellini's intransigence over selecting a box in which Zampanò carries his cigarette butts, scrutinizing over 500 boxes before finding just the right one: "As for me, any of the boxes would have been satisfactory to carry the butts in, but not Federico". Quinn also
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began with vague feelings, "a kind of tone," he said, "that lurked, which made me melancholy and gave me a diffused sense of guilt, like a shadow hanging over me. This feeling suggested two people who stay together, although it will be fatal, and they don't know why." These feelings evolved into
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has been widely viewed as a definitive break with the ideological demands of neorealist theorists to follow a particular political slant or embody a specific "realist" style. This resulted in certain critics vilifying Fellini for, as they saw it, reverting to prewar attitudes of individualism,
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The film should be accepted for its strange fragility and its often too colourful, almost artificial moments, or else totally rejected. If we try to analyze Fellini's film, its fragmentary quality becomes immediately evident and we are obliged to treat each fragment, each personal comment, each
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the very opposite of psychological realism that maintains analysis followed by the description of feelings. In this quasi-Shakespearean universe, however, anything can happen. Gelsomina and the Fool carry an aura of the marvellous around with them, which confuses and irritates Zampanò, but this
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at her. See how sad she is, see her tears? Oh, the poor wretch! You want to comfort her? Don't turn away; go to her. Ah, she doesn't want you, does she? What? Go to her anyway!' ... That's how he's able ... to use performers from many countries. He does part of the acting for the
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artist and clown. When Zampanò finds her there, he forcibly takes her back. They join a ragtag travelling circus where Il Matto already works. Il Matto teases the strongman at every opportunity, though he cannot explain what motivates him to do so. After Il Matto drenches Zampanò with a pail of
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The Venice premiere began "in an inexplicably chilly atmosphere," according to Tino Ranieri, and "the audience, who rather disliked it as the screening began, seemed to change opinion slightly toward the end, yet the movie didn't receive—in any sense of the word—the response that it deserved."
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The killing breaks Gelsomina's spirit and she becomes apathetic, constantly repeating, "The Fool is hurt." Zampanò makes a few small attempts to console her, but in vain. Fearful he will no longer be able to earn a living with Gelsomina, Zampanò abandons her while she sleeps, leaving her some
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Before Zampanò's release from prison, Il Matto proposes to Gelsomina that there are alternatives to her servitude and imparts his philosophy that everything and everyone has a purpose – even a pebble, even she. A nun suggests that Gelsomina's purpose in life is comparable to her own. But when
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avail. He also had trouble finding the right person for the role of Il Matto. 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.
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regretted that after "an excellent beginning, the style of the film remains harmonious for some time until the moment when the two main characters are separated, at which point the tone becomes increasingly artificial and literary, the pace increasingly fragmentary and incoherent."
672:, a long-time favorite of Fellini's. When filming resumed in February 1954, it was winter. The temperature had dropped to -5 °C, often resulting in no heat or hot water, necessitating more delays and forcing the cast and crew to sleep fully dressed and wear hats to keep warm.
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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. In short order, Gelsomina's naïve and antic nature emerges, with Zampanò's brutish methods presenting a callous
606:. Upon being introduced to Basehart by Cortese, Fellini invited the actor to lunch, at which he was offered the role of Il Matto. When asked why by the surprised Basehart, who had never before played the part of a clown, Fellini responded: "Because, if you did what you did in
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extremes, when all those post-synched voices float around bodies, we reach a point where voices—even if we continue to attribute them to the bodies they're assigned—begin to acquire a sort of autonomy, in a baroque and decentered fashion." In the Italian version of
471:. A pig castrator lived there who was known as a womanizer: according to Fellini, "This man took all the girls in town to bed with him; once he left a poor idiot girl pregnant and everyone said the baby was the devil's child." In 1992, Fellini told Canadian director
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in the afternoon and evening. The plan often required the actor to get up at 3:30 am to capture the "bleak early light" that Fellini insisted on, and then leave at 10:30 to drive to Rome in his Zampanò outfit so he could be on the set in time to transform into
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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." He found the film "bitter, yet full of hope. A lot like life." Louis Chauvet of
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and later by Gelsomina on her trumpet. Its last cue in the penultimate scene is sung by the woman who tells Zampanò the fate of Gelsomina after he abandoned her. This is one of three primary themes that are introduced during the titles at the beginning of
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his motorcycle with a warning for the man to watch his mouth in the future, Il Matto complains that his watch is broken, then stumbles into a field, collapses, and dies. Zampanò hides the body and pushes the car off the road, where it bursts into flames.
1031:, Arturo Lanocita argued that the film "gives 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." Nino Ghelli of
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observed that Italian critics "make every effort to find faults with movie after the opening in Venice. Some say that it starts out okay but then the story completely unravels. Others recognize the pathos in the end, but don't like the first half."
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1305:'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." This has come to be known as the
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saw the film as "an unfinished poem," left unfinished deliberately by the filmmaker for fear that "its essence be lost in the callousness of critical definition, or in the ambiguity of classification," while Ermanno Continin of
768:, Fellini suffered a severe bout of clinical depression, a condition that he and his associates tried to keep secret. He was able to complete the filming only upon receiving treatment by a prominent Freudian psychoanalyst.
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of the scene and lauded Masina's performance, resulting in De Laurentiis announcing that he had her on an exclusive and ordering her to sign a hastily prepared contract, at approximately a third of Quinn's salary.
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performer". He made her wear a World War I surplus cloak that was so frayed that its collar cut into her neck. She complained: "You're so nice and sweet to the others in the cast. Why are you so hard on me?"
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1627:, "pass beyond a dogmatic approach to social reality, dealing poetically with other equally compelling personal or emotional problems". As film scholar Mark Shiel has pointed out, when it won the first
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It is all there although not always clearly evident, not always interpreted with full poetical and human eloquence: it is suggested with considerable delicacy and sustained by a subtle emotive force.
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Since Quinn and Basehart did not speak Italian, both were dubbed in the original release. Unhappy with the actor who initially dubbed Zampanò, Fellini remembered being impressed by the work done by
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was the high point of Fellini's career and that, after this film, "his work ran wild through the jungles of Freudian, Christian, sexual and autobiographical excess". Ebert's own opinion was to see
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not hold him to it: "Let's pretend were a joke. Buy us a coffee and we'll forget about them." According to Quinn, however, Fellini was able to obtain this indulgence only by agreeing to film some
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was the focus of a critical debate when it premiered in 1954 simply because it marked Fellini's break with neorealism -- the hard-knocks school that had dominated Italy's postwar cinema."
648:. On Sundays, Fellini and Basehart drove around the countryside, scouting locations and looking for places to eat, sometimes trying as many as six restaurants and venturing as far away as
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In practice, Fellini shot his films while playing taped music because, as he explained in a 1972 interview, "it puts you in a strange dimension in which your fantasy stimulates you". For
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that she tried to obtain theatrical rights to the film for a stage production in New York. After an unsuccessful attempt to meet with Fellini in Rome, she created a one-woman play,
879:, each of which is not simply an illustrative or redundant identifying tag, but "a true signifier that accumulates and communicates meaning not explicit in the images or dialogue".
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was ranked 26th among directors. The film was included in BBC's 2018 list of The 100 greatest foreign language films voted by 209 film critics from 43 countries around the world.
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for afternoon shooting. Quinn recalled: "This schedule accounted for the haggard look I had in both films, a look that was perfect for Zampanò but scarcely OK for Attila the Hun."
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you can do anything." A great success in Italy, the 1951 Hollywood drama starred Basehart as a would-be suicide on a hotel balcony. Basehart, too, had been greatly impressed by
583:, in which Masina played the very different role of a madam. Anthony Quinn was also acting in the film, while Richard Basehart was often on the set visiting his wife, actress
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Zampanò. Now the man has returned a year later to ask her mother if Gelsomina will take Rosa's place. The impoverished mother, with other mouths to feed, accepts 10,000
599:. According to Quinn: "I was thunderstruck by it. I told them the film was a masterpiece, and that the same director was the man who had been chasing me for weeks."
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began to blow a whistle during Fellini's acceptance speech, only to be attacked by Moraldo Rossi. The disturbance left Fellini pale and shaken and Masina in tears.
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as The Fool, Minnie as Gelsomina, and Pete as Zampanò. The storyline opens with Fellini dreaming he's on a plane with his wife to Los Angeles to receive an
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noted that "the atmosphere of the drama" was combined "with a visual strength that has rarely been equalled." For influential film critic and theorist
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water, Zampanò chases after his tormentor with his knife drawn. As a result, he is briefly jailed, and both men are fired from the travelling circus.
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Finally, she rebels and leaves, making her way into town. There she watches the act of another street entertainer, Il Matto ("The Fool"), a talented
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The delay caused the entire production schedule to be revised, and cinematographer Carlo Carlini, who had a prior commitment, had to be replaced by
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was identical to the original Italian version, but the audio track was completely re-edited under the supervision of Carol and Peter Riethof at
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won more than fifty international awards, including an Oscar in 1957 for Best Foreign Language Film, the first recipient in that category.
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Gelsomina, an apparently somewhat simple-minded, dreamy young woman, learns that her sister Rosa has died after going on the road with the
920:. It was released in Italy on 22 September 1954, and in the United States on 16 July 1956. In 1994, a new print was financed by filmmaker
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between Rome and the north and so you had to drive through the mountains. Along one of the tortuous winding roads, he saw a man pulling a
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belonged to "the mythological class, a class intended to captivate the critics more perhaps than the general public." Aubier concluded:
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remains a film indifferent to the social and historical concerns of orthodox neorealism". Soon, other Italian filmmakers, including
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after principal photography was completed. The main theme is a wistful tune that appears first as a melody played by the Fool on a
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became the first film to win international success as an example of a new brand of neorealism, "bittersweet and self-conscious".
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for opening his eyes to the possibilities of cinema when, as a child, he saw adults leave a showing of the film openly weeping.
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Booth, Philip (August 2011). "Fellini's La Strada as Transitional Film: The Road from Classical Neorealism to Poetic Realism".
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2018:"Chatting About Other Things: An Interview with Federico Fellini", in Federico Fellini: Interviews, edited by Bert Cardullo
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was the occasion of a bitter controversy that escalated into a public brawl between Fellini's supporters and detractors.
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into English, but after the film started to receive its many accolades, it was re-released in the United States on the
1262:(# 67) – a website that statistically calculates the most well-received movies. In January 2002, the film (along with
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that he planned to use on the sound track. Rota, unhappy with that plan, wrote an original motif (with echoes of the "
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Circus owner Savitri provided the old car that Fellini destroyed in the scene following Zampanò's killing of Il Matto.
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436:"Masina's character is perfectly suited to her round clown's face and wide, innocent eyes; in one way or another, in
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Perugia: Guerra Edizioni, lingua italiana per stranieri, Collana: Quaderni di cinema italiano per stranieri, p. 32.
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1823:(2000), as an old man who wrote film critique while the protagonist's mother is named Pelafina, after Gelsomina.
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3579:"From Stanley Kubrick to Martin Scorsese: Akira Kurosawa once named his top 100 favourite films of all time"
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had not only a considerable gift for expression but also a deep understanding of certain spiritual problems.
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Le Vidéo Club de David Cronenberg : de Brigitte Bardot à Total Recall (avec du Cannes et Star Wars)
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In later years, Fellini explained that from "a sentimental point of view," he was "most attached" to
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790:: "He talked through each take, in fact yelled at the actors. 'No, there, stop, turn, look at her,
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Richard Basehart, among "the first in a long line of international actors to grace Fellini's films"
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of London ("realism crowing on a dung-hill."), while more favorable assessments were provided by
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Critical reaction in the UK and the US was equally mixed, with disparaging reviews appearing in
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3216:"La Strada (1954) Screen: A Truthful Italian Journey; 'La Strada' Is Tender, Realistic Parable"
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1744:(Traveling Down a Lonely Road)", with Italian lyrics by Michele Galdieri and English lyrics by
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The new schedule caused a conflict for Anthony Quinn, who was signed to play the title role in
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Ultimately, Fellini drew his three leading players from people associated with the 1954 film
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is nothing less than a rite of passage, a vision of perennially failing pig-man. Zampanò is
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progresses. Claudia Gorbman has commented on the use of these themes, which she deems true
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During Fellini's early film career, he was closely associated with the movement known as
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Its numerous appearances on lists of best films include the 1992 Directors' poll of the
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Gorbman, Claudia (Winter 1974–1975). "Music As Salvation: Notes on Fellini and Rota".
2682:
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1268:) was voted at No. 85 on the list of the "Top 100 Essential Films of All Time" by the
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Fellini was a notorious perfectionist, and this could be trying for his cast. At an
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The idea for the character Zampanò came from Fellini's youth in the coastal town of
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List of Italian submissions for the Academy Award for Best Foreign Language Film
736:" (two of the most popular Italian entertainers of the period), so nobody left.
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during filming, a practice that scandalized more traditional filmmakers, like
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supplied a number of stuntmen who could play themselves, including Basehart's
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List of submissions to the 29th Academy Awards for Best Foreign Language Film
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557:
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493:, and Tullio had gone to see his family in Turin. At that time, there was no
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The years since its initial release have solidified the high estimation of
1176:
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817:
816:, and was able to secure Foà's services at the very last moment. Composer
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Fellini was particularly taken with Basehart, who reminded the director of
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has become "one of the most influential films ever made", according to the
2679:
Fourth International Conference on New Directions in the Humanities – 2006
693:, but Fellini convinced him to work on both films simultaneously—shooting
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102:
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3240:
Bluestone, George (October 1957). "An Interview with Federico Fellini".
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3009:
Swados, Harvey (1956). "La Strada: Realism and the Cinema of Poverty".
2801:
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1083:
866:
787:
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349:
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1272:. In 2009, the film was ranked at number 10 on Japanese film magazine
274:. The film tells the story of Gelsomina, a simple-minded young woman (
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The A List: The National Society of Film Critics' 100 Essential Films
1755:
The New York stage has seen two productions derived from the film. A
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152:
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Swados, Harvey. "La Strada: Realism and the Comedy of Poverty." in:
3673:
3551:"A big heart open to God: The exclusive interview with Pope Francis"
3018:
2793:
595:, and after dinner they watched Fellini's 1953 Italian comedy-drama
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4871:
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3660:
Young, Vernon (Autumn 1956). "La Strada: Cinematic Intersections".
2815:
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from 78 reviewers who, on average, scored it 8.9 on a scale of 10.
1230:
1139:
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that Francisci, the director of record, had neglected to complete.
637:
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and most of her other films, she was always playing Gelsomina." --
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7001:
New York Film Critics Circle Award for Best Foreign Language Film
5251:
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661:
645:
353:
48:
7807:
1792:
Topolino presenta La strada : un omaggio a Federico Fellini
1258:"Best 1,000 Movies Ever Made", and the "Greatest Films" list of
1216:
as "part of a process of discovery that led to the masterpieces
1153:
Fellini takes his place as the true successor to Rossellini and
729:
475:
that he had conceived the film at the same time as co-scenarist
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7502:
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7081:
5327:
4347:
Young, Vernon. "La Strada: Cinematographic Intersections". In:
3785:. Princeton, NJ: Princeton University Press. pp. 144–163.
2522:. Cranbury, NJ: Fairleigh Dickinson University Press. pp.
2070:. Carbondale: Southern Illinois University Press. p. 146.
745:
649:
468:
1796:
Mickey Mouse presents La Strada: A Tribute to Federico Fellini
7522:
6588:
4047:"Topolino presenta "La strada" un omaggio a Federico Fellini"
3457:"100 Essential Films by The National Society of Film Critics"
2923:
1373:
956:"A deceptively simple and poetic parable, Federico Fellini's
633:
8152:
7226:
5762:
4713:
3199:
Knight, Arthur (30 June 1956). "Italian Realism Refreshed".
1224:
6431:
1965:"Ecco i cento film italiani da salvare Corriere della Sera"
1721:
have mentioned the film as an inspiration for their songs "
1208:, described the current critical consensus as holding that
1047:
Its French release the next year found a warmer reception.
282:), a brutish strongman who takes her with him on the road.
2518:
Listening to Fellini: Music and Meaning in Black and White
1623:
were to follow Fellini's lead and, in the words of critic
1241:. It holds a 97% rating on the review aggregator website
1102:
quality is neither supernatural nor gratuitous, nor even
832:
The visual track of the 1956 English-language version of
430:
4277:
Fellini, Federico, Peter Bondanella, and Manuela Gieri.
2734:
Silke, James R. (1972). "Federico Fellini: Discussion".
1131:("a director striving to be a poet when he is not") and
4144:. New Brunswick, NJ: Rutgers University Press, 1987.
3914:
Keys to the Rain: The Definitive Bob Dylan Encyclopedia
3726:. Detroit: Wayne State University Press. pp. 1–2.
1763:
on 14 December 1969, but closed after one performance.
1014:, a physical brawl broke out when Visconti's assistant
368:
Gelsomina offers Zampanò marriage, he brushes her off.
2067:
Federico Fellini as Auteur: Seven Aspects of His Films
1917:"The 29th Academy Awards (1957) Nominees and Winners"
1736:
Rota's main theme was adapted into a 1954 single for
3774:
3772:
3770:
3093:. New York: Distributed Art Publishers. p. 25.
2021:. Jackson: University of Mississippi Press. p.
1713:
The film has found its way into popular music, too.
652:
before Fellini found the desired ambiance and menu.
27:
1954 Italian drama film directed by Federico Fellini
3150:Lambert, Gavin (1955). "The Signs of Predicament".
2425:
2423:
2421:
2419:
2417:
2339:
2337:
2335:
2249:
2247:
2245:
1332:cited this movie as one of his 100 favorite films.
340:, and her daughter tearfully departs the same day.
3417:
2515:
2363:
2226:
2224:
2222:
2220:
2218:
1813:The name Zampanò was used as a major character in
4469:Academy Award for Best International Feature Film
3818:Italian Neorealism: Rebuilding the Cinematic City
3767:
2450:"Federico Fellini, Film Visionary, Is Dead at 73"
2091:Fellini, Federico and Charlotte Chandler (1995).
1771:, was so impressed by Giulietta Masina's work in
1619:and even Fellini's mentor and early collaborator
849:circuit in its Italian version, using subtitles.
685:, also produced by De Laurentiis and directed by
8519:Best Foreign Language Film Academy Award winners
8470:
8063:
4130:. New York: Cambridge University Press, 2002.
2757:. University of Central Oklahoma. Archived from
2612:. New York: Columbia University Press. pp.
2414:
2332:
2242:
764:While shooting the final scenes on the wharf of
539:Fellini secured financing through the producers
3722:Ruberto, Laura E. and Kristi M. Wilson (2007).
2645:. New York: Columbia University Press. p.
2215:
2146:
2144:
2142:
2140:
2138:
2136:
1782:In 1991, writer Massimo Marconi and cartoonist
1313:as one of 15 films in the sub-category labeled
4325:Torresan, Paolo, and Franco Pauletto (2004). '
3843:"Akira kurosawa Lists His 100 Favourite Films"
2407:
2405:
689:. At first, Quinn considered withdrawing from
8049:
7793:
6985:
6417:
5612:
4453:
4351:, Vol. 9, n° 3, Autumn 1956, p. 437–434.
4230:. New York: Frederick Ungar Publishing, 1978.
2914:
2912:
2395:
2393:
2391:
2182:
2180:
2178:
2176:
2174:
1987:
1985:
1106:, it appears as a quality possible in nature.
987:praised Fellini as "a master story-teller":
7809:Venice Film Festival Silver Lion (1953–1994)
3688:
3057:"Cahiers du Cinema: Top Ten Lists 1951-2009"
2779:
2675:"Music and Meaning in Fellini's "La Strada""
2509:
2507:
2505:
2503:
2501:
2499:
2497:
2133:
1911:
1909:
1638:International film directors who have named
1629:Academy Award for Best Foreign Language Film
505:Fellini wrote the script with collaborators
307:Academy Award for Best Foreign Language Film
4281:Rutgers Films in Print, 2nd edizione 1991,
3865:The Greatest Films Poll – Sight & Sound
2402:
1436:British Academy of Film and Television Arts
1171:
509:and Tullio Pinelli and brought it first to
8544:Films with screenplays by Federico Fellini
8056:
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7800:
7786:
6992:
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6424:
6410:
5833:Investigation of a Citizen Above Suspicion
5619:
5605:
4816:Investigation of a Citizen Above Suspicion
4460:
4446:
4082:. New York: Simon & Schuster, 2000.
4018:
3930:DVD, supplement "Somewhere Near Salinas,"
3339:"The Sight & Sound Top Ten Poll: 1992"
3084:
3082:
2909:
2388:
2362:Quinn, Anthony and Daniel Paisner (1995).
2171:
1982:
313:directors' list of cinema's top 10 films.
309:in 1957. It was placed fourth in the 1992
47:
7403:Women on the Verge of a Nervous Breakdown
4099:. New York: St. Martin's Press, 1993.
3976:. New York: Applause Books. p. 284.
3973:John Simon on Music: Criticism, 1979–2005
3821:. London: Wallflower Press. p. 114.
3497:"The 100 Greatest Foreign Language Films"
3239:
2710:. Jefferson, NC: McFarland. p. 107.
2513:
2494:
1906:
1335:
996:Others saw it differently. When the 1954
4426:
4272:La Strada', un film di Federico Fellini.
3883:
3867:. British Film Institute. Archived from
3627:
3576:
3467:
3341:. British Film Institute. Archived from
3295:. New York: Broadway Books. p. 12.
3045:, No. 49, July 1955. Fava and Vigano, 83
2844:
2755:"La Strada: Fellini's Magic-Neo-Realism"
2729:
2727:
2681:. University of Carthage. Archived from
1175:
716:
530:
519:(1952). When Rovere read the script for
429:
6433:Blue Ribbon Award for Best Foreign Film
3782:Italian Film in the Light of Neorealism
3721:
3715:
3548:
3149:
3131:Koval, Francis (1954). "Venice, 1954".
3088:
3079:
2978:, 8 September 1954. Fava and Vigano, 83
2889:
2883:
2773:
2703:
2280:
2097:. New York: Random House. p. 104.
2090:
2014:
1642:as one of their favorite films include
1168:letters come from all over the world".
914:15th Venice International Film Festival
901:Opus 22 Serenade for Strings in E major
551:(De Laurentiis' wife) as Gelsomina and
413:Marcella Rovere as La Vedova, the widow
14:
8471:
4298:. "Ho parlato male de La Strada", in:
4140:Bondanella, Peter and Manuela Gieri.
4025:. New York: Hyperion. pp. 30–33.
3778:
3633:
3570:
3549:Spadaro, Antonio (30 September 2013).
3409:
3213:
3198:
3115:La Strada: Un film de Federico Fellini
3008:
3002:
2197:"Federico Fellini: The Complete Films"
2063:
2057:
1798:), featuring three Disney characters:
1384:Best Writing, Best Original Screenplay
1078:in 1955. In his March 1955 review for
656:This changed as soon as executives at
560:, the star of Fellini's earlier films
416:Livia Venturini as La Suorina, the nun
410:as Il Signor Giraffa, the circus owner
316:In 2008, the film was included on the
8037:
7781:
6973:
6405:
5600:
4844:The Discreet Charm of the Bourgeoisie
4441:
4425:
4142:La Strada: Federico Fellini, director
3969:
3814:
3694:
3659:
3521:
3290:
3130:
2733:
2724:
2672:
2636:
2605:
2599:
2447:
2361:
1497:Silver Ribbon; Best Story/Screenplay
1278:Top 10 Non-Japanese Films of All Time
1125:("the quagmire of cheap melodrama"),
318:Italian Ministry of Cultural Heritage
278:) bought from her mother by Zampanò (
8539:Films produced by Dino De Laurentiis
3942:
3724:Italian Neorealism and Global Cinema
3415:
2990:, 8 August 1954. Fava and Vigano, 82
2935:First published 8 September 1954 in
2752:
2582:
2284:Federico Fellini: The Complete Films
944:
806:character in the Italian version of
8388:Cameriera bella presenza offresi...
4995:Volver a Empezar ('To Begin Again')
4237:. New York: Crown Publishers, 1969.
4202:. New York: Faber and Faber, 2006.
4185:. New York: Harry N. Abrams, 2003.
4154:Fava, Claudio G., and Aldo Vigano.
3054:
2707:Foreign Films in America: A History
2448:Flint, Peter B. (1 November 1993).
2370:. New York: HarperCollins. p.
2150:
1733:took the film's name as their own.
1526:New York Film Critics Circle Awards
1500:Dino De Laurentiis, Tullio Pinelli
949:
576:Donne Proibite (Angels of Darkness)
167:Ponti-De Laurentiis Cinematografica
24:
8529:Films directed by Federico Fellini
7383:The Decline of the American Empire
4242:
4182:I'm a Born Liar: A Fellini Lexicon
3113:Bazin, "If Zampanò had a Soul" in
2918:First published 2 October 1954 in
25:
8585:
7941:Recollections of the Yellow House
4356:
4308:Redi, Riccardo. "La Strada", in:
4158:. New York: Citadel Press, 1990.
3365:"The Best 1,000 Movies Ever Made"
2890:Kempley, Rita (14 January 1994).
1991:
1740:under the title "Love Theme from
376:clothes, money, and his trumpet.
8454:How Strange to Be Named Federico
5843:The Garden of the Finzi-Continis
5347:Florian Henckel von Donnersmarck
4967:Moscow Does Not Believe in Tears
4830:The Garden of the Finzi-Continis
4039:
4012:
3990:
3963:
3936:
3919:
3906:
3853:
3835:
3808:
3799:
3709:10.1111/j.1540-5931.2011.00858.x
3393:. Bill Georgaris. Archived from
2845:Hennessy, Doug (November 2005).
2573:italics in original. Baxter, 110
1270:National Society of Film Critics
1180:Screenshot from 1956 trailer to
916:on 6 September 1954 and won the
53:Quinn and Masina in a film scene
5954:The Night of the Shooting Stars
5636:Best International Feature Film
4228:Ten Film Classics: A Re-Viewing
4113:. Boston: Little, Brown, 1976.
4068:
3758:
3749:
3740:
3653:
3605:
3596:
3542:
3515:
3489:
3449:
3391:They Shoot Pictures, Don't They
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2467:
2441:
2432:
2355:
2346:
2323:
2314:
2301:
2274:
2265:
2256:
2233:
2189:
2159:. Turner Entertainment Networks
2124:
2111:
2084:
2048:
2039:
1260:They Shoot Pictures, Don't They
1004:the Silver Lion while ignoring
907:
459:Fellini's creative process for
8177:Fellini: A Director's Notebook
6016:The Legend of the Holy Drinker
5566:All Quiet on the Western Front
5247:Crouching Tiger, Hidden Dragon
4591:Samurai, The Legend of Musashi
3697:The Journal of Popular Culture
3475:"「オールタイム・ベスト 映画遺産200」全ランキング公開"
2869:"Martin Scorsese on La Strada"
2064:Stubbs, John Caldwell (2006).
2008:
1957:
1934:
1897:
1873:
1864:
1855:
886:, Fellini used a variation by
721:Screenshot from 1956 trailer.
434:Giulietta Masina as Gelsomina.
13:
1:
8534:Films produced by Carlo Ponti
8504:Italian black-and-white films
8327:("The Miracle" segment, 1948)
7744:The Worst Person in the World
6733:The Bridges of Madison County
5773:Yesterday, Today and Tomorrow
4728:Yesterday, Today and Tomorrow
4327:La Strada'. Federico Fellini.
4319:, n° 17, 1956, p. 38–43.
4216:. New York: Rizzoli, 2009.
4156:The Films of Federico Fellini
4128:The Films of Federico Fellini
4022:My Life As a Ten Year-Old Boy
3945:"Love Theme from "La Strada""
3634:Weiler, A.H. (17 July 1956).
3317:"La Strada (The Road) (1954)"
3214:Weiler, A.H. (17 July 1956).
2641:Audio-Vision: Sound on Screen
2514:Van Order, M. Thomas (2009).
2287:. Koln: Taschen. p. 43.
2203:. anothermag.com. 30 May 2013
2130:Fellini and Pettigrew, 89-90.
1848:
1480:Silver Ribbon; Best Producer
1469:Silver Ribbon; Best Director
1115:secret confession separately.
1076:Top 10 Films of the Year List
425:
420:
348:. He teaches her to play the
322:100 Italian films to be saved
8499:1950s Italian-language films
8396:The Bandit of Tacca Del Lupo
7614:4 Months, 3 Weeks and 2 Days
4266:Bastide, F., J. Caputo, and
3387:"The 1000 Greatest Films(s)"
3367:. The New York Times Company
2939:(Genoa). Fava and Vigano, 83
2825:, ballet suite for orchestra
1759:based on the film opened on
1292:the greatest films ever made
939:
7:
6957:The Super Mario Bros. Movie
4214:Federico Fellini: The Films
3805:Bondanella & Gieri, 10.
1826:
1530:Best Foreign Language Film
1514:Best Foreign Language Film
1424:Best Foreign Language Film
1143:("novel and arguable") and
266:and co-written by Fellini,
206:22 September 1954
10:
8590:
8364:The Flowers of St. Francis
7664:Blue Is the Warmest Colour
6629:E.T. the Extra-Terrestrial
5702:Big Deal on Madonna Street
4939:Get Out Your Handkerchiefs
4200:Fellini: His Life and Work
4019:Cartwright, Nancy (2001).
3916:, Billboard Books. p. 440.
3779:Marcus, Millicent (1986).
3764:Bondanella & Gieri, 7.
3755:Bondanella & Gieri, 9.
2054:Bondanella & Gieri, 17
2045:Bondanella & Gieri, 16
1790:into a comic book titled,
1440:Best Film from any Source
1369:Best Foreign Language Film
1097:, Fellini's approach was
912:The film premiered at the
619:
526:
191:6 September 1954
32:La Strada (disambiguation)
29:
8549:Films scored by Nino Rota
8524:Italian independent films
8489:Italian drama road movies
8433:E il Casanova di Fellini?
8414:
8275:
8072:
7967:J'entends plus la guitare
7924:
7815:
7534:
7293:
7007:
6439:
6358:
6247:The First Beautiful Thing
6147:
5934:
5733:
5642:
5261:
4900:
4605:
4475:
4435:
3970:Simon, John Ivan (2005).
3424:. Da Capo Press. p.
1571:
1540:
1463:
1434:
1362:
513:, Fellini's producer for
380:he breaks down in tears.
239:
231:
221:
182:
172:
158:
148:
138:
126:
108:
94:
84:
68:
58:
46:
41:
8569:Paramount Pictures films
8494:Italian neorealist films
8441:Fellini: I'm a Born Liar
7313:The Tree of Wooden Clogs
6701:The Silence of the Lambs
5813:The Girl with the Pistol
5384:The Secret in Their Eyes
4911:Black and White in Color
4172:. Delacorte Press, 1974.
3949:A Perry Como Discography
3184:"The Strong Grow Week".
2847:"La Strada Movie Review"
1172:Retrospective evaluation
1164:of his rough exterior."
852:
771:
479:in a kind of "orgiastic
8564:1950s drama road movies
8422:Giulietta Masina (wife)
7363:A Sunday in the Country
7257:The Shop on Main Street
6501:The Old Man and the Sea
5753:The Four Days of Naples
5300:The Barbarian Invasions
4742:The Shop on Main Street
4260:, n° 46, Novembre 1954.
4175:Fellini, Federico, and
3912:Trager, Oliver (2004),
3524:"The Vatican Film List"
3169:"A Grim Italian Film".
2753:Springer, John Parris.
2704:Segrave, Kerry (2004).
2281:Wiegand, Chris (2003).
1729:", respectively, and a
1328:The Japanese filmmaker
1070:The film ranked 7th on
741:American Film Institute
383:
327:
305:. It won the inaugural
303:American Film Institute
297:Subsequently, however,
8559:1954 independent films
8340:In the Name of the Law
7704:BPM (Beats per Minute)
5783:Marriage Italian Style
4774:Closely Watched Trains
4686:Through a Glass Darkly
3281:Retrieved 15 June 2012
3265:Retrieved 15 June 2012
3089:Douchet, Jean (1999).
2926:). Fava and Vigano, 82
2849:. Contactmusic.com Ltd
2637:Chion, Michel (1994).
2606:Chion, Michel (1999).
2482:Fava & Vigano, 33.
2015:Maraini, Toni (2006).
1954:Retrieved 15 June 2012
1950:8 October 2014 at the
1617:Michelangelo Antonioni
1588:
1336:Awards and nominations
1282:British Film Institute
1250:British Film Institute
1184:
1117:
1108:
1068:
994:
976:Tullio Cicciarelli of
962:
724:
536:
503:
456:
311:British Film Institute
8554:Films shot in Abruzzo
8265:The Voice of the Moon
8241:And the Ship Sails On
8161:Juliet of the Spirits
7955:Raise the Red Lantern
7947:Death of a Tea Master
7933:Landscape in the Mist
7453:Farewell My Concubine
7443:Raise the Red Lantern
7247:Juliet of the Spirits
6187:The Keys to the House
5964:And the Ship Sails On
5793:The Battle of Algiers
5672:The Walls of Malapaga
4530:The Walls of Malapaga
4312:, n° 130, March 1954.
4302:, n.139, August 1954.
4274:Paris: Du Seul, 1955.
3530:. Steven D. Greydanus
3522:Greydanus, Steven D.
3291:Ebert, Roger (2002).
2823:Le Molière imaginaire
1576:
1451:Best Foreign Actress
1179:
1112:
1099:
1063:
989:
954:
857:The entire score for
720:
624:The film was shot in
547:, who wanted to cast
534:
485:
439:Juliet of the Spirits
433:
404:as Il Matto, the fool
8308:Flesh Will Surrender
7544:In the Mood for Love
7285:No Award (1969–1977)
7055:No Award (1941–1945)
6821:Flags of Our Fathers
5580:The Zone of Interest
5389:Juan José Campanella
4417:Criterion Collection
4168:Fellini, Federico.
3932:Criterion Collection
3815:Shiel, Mark (2006).
3613:"1956 – Bodilprisen"
1777:In Search of Fellini
1664:Adoor Gopalakrishnan
1542:Venice Film Festival
998:Venice Film Festival
292:Venice Film Festival
258:) is a 1954 Italian
30:For other uses, see
8574:1950s Italian films
8225:Orchestra Rehearsal
8169:Spirits of the Dead
7604:The Lives of Others
7554:And Your Mother Too
7513:All About My Mother
7353:Fanny and Alexander
7303:Bread and Chocolate
6813:Million Dollar Baby
6781:Joint Security Area
6549:Lilies of the Field
6533:The Grapes of Wrath
6056:The Stolen Children
5628:Italian submissions
5342:The Lives of Others
5233:All About My Mother
5126:Gabriele Salvatores
5079:Pelle the Conqueror
5009:Fanny and Alexander
4916:Jean-Jacques Annaud
4317:Yale French Studies
4233:Salachas, Gilbert.
3577:Thomas-Mason, Lee.
3173:. 25 November 1955.
3091:The French New Wave
3061:alumnus.caltech.edu
3039:First published in
3011:Yale French Studies
2999:Kezich (2006), 154.
2976:Corriere della Sera
2871:. Classic Art Films
2673:Van Order, Thomas.
2609:The Voice in Cinema
2587:. DVD Movie Central
2583:Jacobson, Michael.
2429:Kezich (2006), 150.
2343:Kezich (2006), 149.
2253:Kezich (2006), 148.
1996:. Ebert Digital LLC
1903:Kezich (2006), 406.
1881:"AFIPreview21.indd"
1815:Mark Z. Danielewski
1700:Andrey Konchalovsky
1509:Kinema Junpo Awards
1408:Best European Film
1039:Fellini biographer
1028:Corriere della Sera
838:Titra Sound Studios
697:in the morning and
8514:Films about clowns
8456:(2013 documentary)
8435:(1975 documentary)
8356:The Mill on the Po
8316:Bullet for Stefano
8003:Heavenly Creatures
7868:Sansho the Bailiff
7463:Three Colours: Red
6893:Mad Max: Fury Road
6773:Dancer in the Dark
6597:Conversation Piece
6541:Sundays and Cybele
5923:A Leap in the Dark
5356:The Counterfeiters
5319:Alejandro Amenábar
5098:Giuseppe Tornatore
5037:The Official Story
4958:Volker Schlöndorff
4700:Sundays and Cybèle
4582:Teinosuke Kinugasa
4391:TCM Movie Database
4252:Aristarco, Guido.
4170:Fellini on Fellini
3943:Townsend, George.
3636:"La Strada Review"
3602:Kezich (2006), 156
3528:Decent Films Guide
3416:Carr, Jay (2002).
3171:The Times (London)
2966:Kezich (2006), 151
2892:"'La Strada' (NR)"
2761:on 16 October 2013
2491:Kezich (2009), 61.
2311:filming locations.
2230:Kezich (2009), 60.
2119:Fellini on Fellini
1945:Top Ten Poll: 1992
1861:Kezich (2009), 56.
1727:Me and Bobby McGee
1723:Mr. Tambourine Man
1719:Kris Kristofferson
1621:Roberto Rossellini
1484:Dino De Laurentiis
1420:Blue Ribbon Awards
1388:Federico Fellini,
1185:
1110:For Cicciarelli,
725:
589:Roberto Rossellini
541:Dino De Laurentiis
537:
457:
285:Fellini described
177:Paramount Pictures
99:Dino De Laurentiis
8464:
8463:
8443:(2002 documentary
8185:Fellini Satyricon
8129:Nights of Cabiria
8031:
8030:
8025:
8024:
7987:A Heart in Winter
7862:On the Waterfront
7775:
7774:
7764:Anatomy of a Fall
7483:The White Balloon
7343:Time Stands Still
7323:My American Uncle
7237:That Man from Rio
7202:Hiroshima My Love
6967:
6966:
6949:Top Gun: Maverick
6917:Bohemian Rhapsody
6765:Life Is Beautiful
6757:L.A. Confidential
6613:Kramer vs. Kramer
6565:A Man and a Woman
6469:The Wages of Fear
6399:
6398:
6217:The Unknown Woman
6136:One Hundred Steps
6126:Not of this World
6116:Life Is Beautiful
6066:The Great Pumpkin
5823:Fellini Satyricon
5692:Nights of Cabiria
5594:
5593:
5557:Ryusuke Hamaguchi
5543:Thomas Vinterberg
5496:A Fantastic Woman
5459:Paweł Pawlikowski
5398:In a Better World
5361:Stefan Ruzowitzky
5286:Nowhere in Africa
5219:Life Is Beautiful
4863:François Truffaut
4793:Sergei Bondarchuk
4760:A Man and a Woman
4705:Serge Bourguignon
4672:The Virgin Spring
4630:Nights of Cabiria
4349:The Hudson Review
4343:978-88-7715-790-4
4222:978-0-8478-3269-9
4212:Kezich, Tullio.
4150:978-0-8135-1237-2
4136:978-0-521-57573-7
4124:Bondanella, Peter
4088:978-0-7432-1309-7
4032:978-0-7868-6696-0
3983:978-1-55783-506-2
3927:Two-Lane Blacktop
3871:on 20 August 2012
3828:978-1-904764-48-9
3792:978-0-691-10208-5
3733:978-0-8143-3324-2
3503:. 29 October 2018
3435:978-0-306-81096-1
3397:on 6 October 2013
3345:on 8 October 2014
3302:978-0-7679-1038-5
3261:Ten Film Classics
3100:978-1-56466-057-2
3055:Johnson, Eric C.
3042:Cahiers du cinéma
2717:978-0-7864-1764-3
2656:978-0-231-07899-3
2623:978-0-231-10823-2
2533:978-1-61147-388-9
2381:978-0-06-018354-7
2294:978-3-8365-3470-3
2104:978-0-679-44032-1
2077:978-0-8093-2689-1
2032:978-1-57806-884-5
1943:Sight & Sound
1843:Anastasini Circus
1784:Giorgio Cavazzano
1731:Serbian rock band
1696:Krzysztof Zanussi
1652:Gillies MacKinnon
1569:
1568:
1562:Federico Fellini
1549:Federico Fellini
1533:Federico Fellini
1517:Federico Fellini
1472:Federico Fellini
1443:Federico Fellini
1427:Federico Fellini
1411:Federico Fellini
1323:Francis of Assisi
1307:Vatican film list
1287:Sight & Sound
1265:Nights of Cabiria
1157:."). In his 1956
1128:Sight & Sound
1072:Cahiers du Cinéma
1054:Cahiers du cinéma
1016:Franco Zeffirelli
945:Critical response
888:Arcangelo Corelli
585:Valentina Cortese
454:Chicago Sun-Times
247:
246:
16:(Redirected from
8581:
8484:1954 drama films
8105:Love in the City
8065:Federico Fellini
8058:
8051:
8044:
8035:
8034:
7914:Le Notti Bianche
7802:
7795:
7788:
7779:
7778:
7768:
7758:
7748:
7738:
7728:
7718:
7708:
7698:
7688:
7678:
7668:
7658:
7648:
7638:
7628:
7618:
7608:
7598:
7588:
7578:
7568:
7558:
7548:
7527:
7517:
7507:
7497:
7487:
7477:
7467:
7457:
7447:
7437:
7427:
7417:
7407:
7397:
7393:My Life as a Dog
7387:
7377:
7367:
7357:
7347:
7337:
7327:
7317:
7307:
7286:
7281:
7271:
7261:
7251:
7241:
7231:
7221:
7216:
7206:
7196:
7186:
7176:
7166:
7156:
7146:
7136:
7126:
7116:
7112:Miracle in Milan
7106:
7096:
7086:
7076:
7072:To Live in Peace
7066:
7056:
7051:
7047:The Baker's Wife
7041:
7031:
7021:
6994:
6987:
6980:
6971:
6970:
6797:Infernal Affairs
6669:The Untouchables
6661:The Color Purple
6453:Monsieur Verdoux
6445:Sunset Boulevard
6426:
6419:
6412:
6403:
6402:
6392:
6382:
6372:
6351:
6341:
6331:
6321:
6311:
6301:
6291:
6281:
6277:The Great Beauty
6271:
6261:
6251:
6241:
6231:
6221:
6211:
6201:
6191:
6181:
6171:
6161:
6140:
6130:
6120:
6110:
6100:
6090:
6080:
6070:
6060:
6050:
6040:
6030:
6020:
6010:
6000:
5988:
5978:
5968:
5958:
5948:
5927:
5917:
5913:To Forget Venice
5907:
5897:
5887:
5877:
5873:Scent of a Woman
5867:
5857:
5847:
5837:
5827:
5817:
5807:
5797:
5787:
5777:
5767:
5757:
5747:
5726:
5716:
5706:
5696:
5686:
5676:
5666:
5656:
5621:
5614:
5607:
5598:
5597:
5587:
5573:
5559:
5545:
5531:
5517:
5503:
5489:
5475:
5461:
5447:
5445:Paolo Sorrentino
5440:The Great Beauty
5433:
5419:
5405:
5391:
5377:
5363:
5349:
5335:
5321:
5307:
5293:
5279:
5254:
5240:
5226:
5212:
5198:
5184:
5170:
5168:Nikita Mikhalkov
5163:Burnt by the Sun
5156:
5142:
5128:
5114:
5100:
5086:
5072:
5058:
5044:
5030:
5016:
5002:
4988:
4974:
4972:Vladimir Menshov
4960:
4946:
4932:
4918:
4893:
4879:
4877:Federico Fellini
4865:
4851:
4837:
4835:Vittorio De Sica
4823:
4809:
4795:
4781:
4767:
4753:
4735:
4733:Vittorio De Sica
4721:
4719:Federico Fellini
4707:
4693:
4679:
4665:
4651:
4637:
4635:Federico Fellini
4623:
4621:Federico Fellini
4598:
4584:
4570:
4565:
4551:
4537:
4523:
4521:Vittorio De Sica
4509:
4502:Monsieur Vincent
4495:
4493:Vittorio De Sica
4462:
4455:
4448:
4439:
4438:
4423:
4422:
4413:David Ehrenstein
4324:
4307:
4294:
4265:
4251:
4235:Federico Fellini
4226:Murray, Edward.
4177:Damian Pettigrew
4109:Betti, Liliana.
4062:
4061:
4059:
4057:
4043:
4037:
4036:
4016:
4010:
4009:
4007:
4005:
3994:
3988:
3987:
3967:
3961:
3960:
3958:
3956:
3940:
3934:
3923:
3917:
3910:
3904:
3903:
3901:
3899:
3887:
3881:
3880:
3878:
3876:
3857:
3851:
3850:
3839:
3833:
3832:
3812:
3806:
3803:
3797:
3796:
3776:
3765:
3762:
3756:
3753:
3747:
3744:
3738:
3737:
3719:
3713:
3712:
3692:
3686:
3685:
3657:
3651:
3650:
3648:
3646:
3631:
3625:
3624:
3622:
3620:
3609:
3603:
3600:
3594:
3593:
3591:
3589:
3583:Far Out Magazine
3574:
3568:
3567:
3565:
3563:
3546:
3540:
3539:
3537:
3535:
3519:
3513:
3512:
3510:
3508:
3493:
3487:
3486:
3481:. Archived from
3471:
3465:
3464:
3453:
3447:
3446:
3444:
3442:
3423:
3413:
3407:
3406:
3404:
3402:
3383:
3377:
3376:
3374:
3372:
3361:
3355:
3354:
3352:
3350:
3335:
3329:
3328:
3326:
3324:
3313:
3307:
3306:
3293:The Great Movies
3288:
3282:
3277:Federico Fellini
3272:
3266:
3256:
3250:
3249:
3237:
3231:
3230:
3228:
3226:
3211:
3205:
3204:
3196:
3190:
3189:
3181:
3175:
3174:
3166:
3160:
3159:
3147:
3141:
3140:
3128:
3122:
3111:
3105:
3104:
3086:
3077:
3076:
3074:
3072:
3067:on 27 March 2012
3063:. Archived from
3052:
3046:
3037:
3031:
3030:
3006:
3000:
2997:
2991:
2988:Bianco e Nero XV
2985:
2979:
2973:
2967:
2964:
2958:
2955:
2949:
2946:
2940:
2933:
2927:
2916:
2907:
2906:
2904:
2902:
2887:
2881:
2880:
2878:
2876:
2865:
2859:
2858:
2856:
2854:
2842:
2836:
2833:
2827:
2812:
2806:
2805:
2777:
2771:
2770:
2768:
2766:
2750:
2744:
2743:
2736:Dialogue on Film
2731:
2722:
2721:
2701:
2695:
2694:
2692:
2690:
2670:
2661:
2660:
2644:
2634:
2628:
2627:
2603:
2597:
2596:
2594:
2592:
2580:
2574:
2571:
2565:
2562:
2556:
2553:
2547:
2544:
2538:
2537:
2521:
2511:
2492:
2489:
2483:
2480:
2474:
2471:
2465:
2464:
2462:
2460:
2445:
2439:
2438:Baxter, 109-110.
2436:
2430:
2427:
2412:
2409:
2400:
2397:
2386:
2385:
2369:
2359:
2353:
2350:
2344:
2341:
2330:
2327:
2321:
2318:
2312:
2305:
2299:
2298:
2278:
2272:
2269:
2263:
2260:
2254:
2251:
2240:
2237:
2231:
2228:
2213:
2212:
2210:
2208:
2193:
2187:
2184:
2169:
2168:
2166:
2164:
2148:
2131:
2128:
2122:
2115:
2109:
2108:
2088:
2082:
2081:
2061:
2055:
2052:
2046:
2043:
2037:
2036:
2012:
2006:
2005:
2003:
2001:
1989:
1980:
1979:
1977:
1975:
1961:
1955:
1938:
1932:
1931:
1929:
1927:
1913:
1904:
1901:
1895:
1894:
1892:
1890:
1885:
1877:
1871:
1868:
1862:
1859:
1765:Nancy Cartwright
1704:David Cronenberg
1625:Peter Bondanella
1598:
1465:Nastro d'Argento
1455:Giulietta Masina
1346:
1345:
1252:(4th best), the
1205:The Great Movies
1049:Dominique Aubier
1006:Luchino Visconti
972:
950:Initial response
687:Pietro Francisci
487:I was directing
473:Damian Pettigrew
402:Richard Basehart
390:Giulietta Masina
276:Giulietta Masina
264:Federico Fellini
213:
211:
198:
196:
121:Richard Basehart
113:Giulietta Masina
88:Federico Fellini
72:Federico Fellini
63:Federico Fellini
51:
39:
38:
21:
18:La Strada (film)
8589:
8588:
8584:
8583:
8582:
8580:
8579:
8578:
8469:
8468:
8465:
8460:
8410:
8292:Rome, Open City
8271:
8249:Ginger and Fred
8089:The White Sheik
8068:
8062:
8032:
8027:
8026:
8021:
7961:The Fisher King
7920:
7906:The Grasshopper
7824:Little Fugitive
7811:
7806:
7776:
7771:
7761:
7751:
7741:
7731:
7721:
7711:
7701:
7691:
7681:
7671:
7661:
7651:
7641:
7631:
7621:
7611:
7601:
7594:Army of Shadows
7591:
7581:
7571:
7561:
7551:
7541:
7530:
7520:
7510:
7503:The Celebration
7500:
7490:
7480:
7470:
7460:
7450:
7440:
7430:
7420:
7410:
7400:
7390:
7380:
7370:
7360:
7350:
7340:
7330:
7320:
7310:
7300:
7289:
7284:
7274:
7267:The War Is Over
7264:
7254:
7244:
7234:
7224:
7220:No Award (1962)
7219:
7209:
7199:
7189:
7179:
7169:
7159:
7149:
7139:
7132:Justice Is Done
7129:
7122:Forbidden Games
7119:
7109:
7099:
7092:Bicycle Thieves
7089:
7079:
7069:
7062:Rome, Open City
7059:
7054:
7044:
7034:
7024:
7014:
7003:
6998:
6968:
6963:
6837:The Dark Knight
6693:Field of Dreams
6677:Wings of Desire
6645:The Right Stuff
6605:The Deer Hunter
6461:Forbidden Games
6435:
6430:
6400:
6395:
6385:
6375:
6368:The Hand of God
6365:
6354:
6344:
6334:
6324:
6314:
6304:
6294:
6284:
6274:
6267:Caesar Must Die
6264:
6254:
6244:
6234:
6224:
6214:
6204:
6194:
6184:
6174:
6164:
6154:
6143:
6133:
6123:
6113:
6103:
6093:
6083:
6073:
6063:
6053:
6043:
6033:
6026:Cinema Paradiso
6023:
6013:
6003:
5993:
5981:
5974:Where's Picone?
5971:
5961:
5951:
5941:
5930:
5920:
5910:
5900:
5890:
5880:
5870:
5860:
5850:
5840:
5830:
5820:
5810:
5800:
5790:
5780:
5770:
5760:
5750:
5740:
5729:
5719:
5709:
5699:
5689:
5679:
5669:
5662:Bicycle Thieves
5659:
5649:
5638:
5625:
5595:
5590:
5585:Jonathan Glazer
5576:
5562:
5548:
5534:
5520:
5506:
5501:Sebastián Lelio
5492:
5478:
5464:
5450:
5436:
5422:
5408:
5394:
5380:
5366:
5352:
5338:
5324:
5310:
5296:
5282:
5268:
5257:
5243:
5238:Pedro Almodóvar
5229:
5224:Roberto Benigni
5215:
5201:
5187:
5173:
5159:
5154:Fernando Trueba
5145:
5131:
5117:
5107:Journey of Hope
5103:
5093:Cinema Paradiso
5089:
5075:
5065:Babette's Feast
5061:
5056:Fons Rademakers
5047:
5033:
5023:Dangerous Moves
5019:
5005:
5000:José Luis Garci
4991:
4977:
4963:
4949:
4935:
4921:
4907:
4896:
4882:
4868:
4854:
4840:
4826:
4812:
4798:
4784:
4770:
4756:
4738:
4724:
4710:
4696:
4682:
4668:
4654:
4640:
4626:
4612:
4601:
4596:Hiroshi Inagaki
4587:
4573:
4568:
4558:Forbidden Games
4554:
4540:
4526:
4516:Bicycle Thieves
4512:
4498:
4484:
4477:
4471:
4466:
4431:
4402:Rotten Tomatoes
4359:
4354:
4322:
4305:
4292:
4263:
4249:
4245:
4243:Further reading
4240:
4080:Fellini: A Life
4071:
4066:
4065:
4055:
4053:
4045:
4044:
4040:
4033:
4017:
4013:
4003:
4001:
4000:. Playbill, Inc
3996:
3995:
3991:
3984:
3968:
3964:
3954:
3952:
3941:
3937:
3924:
3920:
3911:
3907:
3897:
3895:
3889:
3888:
3884:
3874:
3872:
3859:
3858:
3854:
3841:
3840:
3836:
3829:
3813:
3809:
3804:
3800:
3793:
3777:
3768:
3763:
3759:
3754:
3750:
3746:Bondanella, 43.
3745:
3741:
3734:
3720:
3716:
3693:
3689:
3674:10.2307/3847261
3658:
3654:
3644:
3642:
3632:
3628:
3618:
3616:
3611:
3610:
3606:
3601:
3597:
3587:
3585:
3575:
3571:
3561:
3559:
3547:
3543:
3533:
3531:
3520:
3516:
3506:
3504:
3495:
3494:
3490:
3473:
3472:
3468:
3455:
3454:
3450:
3440:
3438:
3436:
3414:
3410:
3400:
3398:
3385:
3384:
3380:
3370:
3368:
3363:
3362:
3358:
3348:
3346:
3337:
3336:
3332:
3322:
3320:
3319:. Flixster, Inc
3315:
3314:
3310:
3303:
3289:
3285:
3273:
3269:
3257:
3253:
3238:
3234:
3224:
3222:
3212:
3208:
3201:Saturday Review
3197:
3193:
3188:. 16 July 1956.
3183:
3182:
3178:
3168:
3167:
3163:
3152:Sight and Sound
3148:
3144:
3133:Films in Review
3129:
3125:
3117:(1955), editor
3112:
3108:
3101:
3087:
3080:
3070:
3068:
3053:
3049:
3038:
3034:
3019:10.2307/2929116
3007:
3003:
2998:
2994:
2986:
2982:
2974:
2970:
2965:
2961:
2956:
2952:
2947:
2943:
2934:
2930:
2920:Il Lavoro nuovo
2917:
2910:
2900:
2898:
2896:Washington Post
2888:
2884:
2874:
2872:
2867:
2866:
2862:
2852:
2850:
2843:
2839:
2834:
2830:
2813:
2809:
2794:10.2307/1211629
2778:
2774:
2764:
2762:
2751:
2747:
2732:
2725:
2718:
2702:
2698:
2688:
2686:
2685:on 4 March 2016
2671:
2664:
2657:
2635:
2631:
2624:
2604:
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2581:
2577:
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2398:
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2356:
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2347:
2342:
2333:
2328:
2324:
2319:
2315:
2306:
2302:
2295:
2279:
2275:
2270:
2266:
2261:
2257:
2252:
2243:
2238:
2234:
2229:
2216:
2206:
2204:
2195:
2194:
2190:
2185:
2172:
2162:
2160:
2151:Frankel, Mark.
2149:
2134:
2129:
2125:
2116:
2112:
2105:
2089:
2085:
2078:
2062:
2058:
2053:
2049:
2044:
2040:
2033:
2013:
2009:
1999:
1997:
1990:
1983:
1973:
1971:
1969:www.corriere.it
1963:
1962:
1958:
1952:Wayback Machine
1939:
1935:
1925:
1923:
1915:
1914:
1907:
1902:
1898:
1888:
1886:
1883:
1879:
1878:
1874:
1869:
1865:
1860:
1856:
1851:
1829:
1820:House of Leaves
1767:, the voice of
1676:Laila Pakalniņa
1600:
1590:
1574:
1349:Award/Festival
1338:
1309:, and includes
1303:Catholic Church
1243:Rotten Tomatoes
1174:
1146:Saturday Review
1122:Films in Review
978:Il Lavoro nuovo
974:
968:Washington Post
964:
952:
947:
942:
922:Martin Scorsese
910:
861:was written by
855:
802:in dubbing the
774:
722:
670:Otello Martelli
622:
604:Charlie Chaplin
562:The White Sheik
549:Silvana Mangano
529:
516:The White Sheik
445:Ginger and Fred
435:
428:
423:
386:
330:
224:
217:
209:
207:
194:
192:
185:
168:
163:
161:
133:
131:Otello Martelli
119:
115:
101:
89:
77:
73:
54:
35:
28:
23:
22:
15:
12:
11:
5:
8587:
8577:
8576:
8571:
8566:
8561:
8556:
8551:
8546:
8541:
8536:
8531:
8526:
8521:
8516:
8511:
8506:
8501:
8496:
8491:
8486:
8481:
8462:
8461:
8459:
8458:
8450:
8445:
8437:
8429:
8424:
8418:
8416:
8412:
8411:
8409:
8408:
8400:
8392:
8384:
8376:
8368:
8360:
8352:
8344:
8336:
8328:
8320:
8312:
8304:
8296:
8288:
8284:The Last Wagon
8279:
8277:
8276:As writer only
8273:
8272:
8270:
8269:
8261:
8253:
8245:
8237:
8229:
8221:
8213:
8205:
8197:
8189:
8181:
8173:
8165:
8157:
8149:
8141:
8133:
8125:
8117:
8109:
8101:
8093:
8085:
8081:Variety Lights
8076:
8074:
8070:
8069:
8061:
8060:
8053:
8046:
8038:
8029:
8028:
8023:
8022:
8020:
8019:
7999:
7991:
7971:
7951:
7937:
7928:
7926:
7922:
7921:
7919:
7918:
7910:
7884:
7858:
7842:Thérèse Raquin
7819:
7817:
7813:
7812:
7805:
7804:
7797:
7790:
7782:
7773:
7772:
7770:
7769:
7759:
7749:
7739:
7729:
7719:
7709:
7699:
7689:
7679:
7669:
7659:
7649:
7639:
7629:
7619:
7609:
7599:
7589:
7579:
7569:
7559:
7549:
7538:
7536:
7532:
7531:
7529:
7528:
7518:
7508:
7498:
7488:
7478:
7468:
7458:
7448:
7438:
7428:
7423:The Nasty Girl
7418:
7413:Story of Women
7408:
7398:
7388:
7378:
7368:
7358:
7348:
7338:
7328:
7318:
7308:
7297:
7295:
7291:
7290:
7288:
7287:
7282:
7272:
7262:
7252:
7242:
7232:
7222:
7217:
7212:The Sweet Life
7207:
7197:
7187:
7177:
7167:
7157:
7147:
7137:
7127:
7117:
7107:
7097:
7087:
7077:
7067:
7057:
7052:
7042:
7032:
7027:Grand Illusion
7022:
7011:
7009:
7005:
7004:
6997:
6996:
6989:
6982:
6974:
6965:
6964:
6962:
6961:
6953:
6945:
6941:No Time to Die
6937:
6929:
6921:
6913:
6909:Hidden Figures
6905:
6897:
6889:
6881:
6873:
6869:Les Misérables
6865:
6857:
6849:
6841:
6833:
6825:
6817:
6809:
6801:
6793:
6789:Shaolin Soccer
6785:
6777:
6769:
6761:
6753:
6745:
6737:
6729:
6721:
6713:
6705:
6697:
6689:
6681:
6673:
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6657:
6649:
6641:
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6617:
6609:
6601:
6593:
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6561:
6553:
6545:
6537:
6529:
6521:
6513:
6505:
6497:
6489:
6481:
6473:
6465:
6457:
6449:
6440:
6437:
6436:
6429:
6428:
6421:
6414:
6406:
6397:
6396:
6394:
6393:
6383:
6373:
6362:
6360:
6356:
6355:
6353:
6352:
6342:
6332:
6322:
6312:
6302:
6292:
6282:
6272:
6262:
6252:
6242:
6232:
6222:
6212:
6202:
6192:
6182:
6177:I'm Not Scared
6172:
6162:
6157:The Son's Room
6151:
6149:
6145:
6144:
6142:
6141:
6131:
6121:
6111:
6101:
6091:
6086:The Star Maker
6081:
6071:
6061:
6051:
6041:
6031:
6021:
6011:
6001:
5990:
5989:
5979:
5969:
5959:
5949:
5944:Three Brothers
5938:
5936:
5932:
5931:
5929:
5928:
5918:
5908:
5903:I nuovi mostri
5898:
5888:
5883:Seven Beauties
5878:
5868:
5858:
5848:
5838:
5828:
5818:
5808:
5798:
5788:
5778:
5768:
5758:
5748:
5737:
5735:
5731:
5730:
5728:
5727:
5717:
5707:
5697:
5687:
5677:
5667:
5657:
5646:
5644:
5640:
5639:
5624:
5623:
5616:
5609:
5601:
5592:
5591:
5589:
5588:
5574:
5560:
5546:
5532:
5518:
5515:Alfonso Cuarón
5504:
5490:
5487:Asghar Farhadi
5476:
5462:
5448:
5434:
5431:Michael Haneke
5420:
5417:Asghar Farhadi
5406:
5392:
5378:
5364:
5350:
5336:
5322:
5314:The Sea Inside
5308:
5294:
5280:
5265:
5263:
5259:
5258:
5256:
5255:
5241:
5227:
5213:
5199:
5185:
5182:Marleen Gorris
5177:Antonia's Line
5171:
5157:
5143:
5140:Régis Wargnier
5129:
5115:
5101:
5087:
5073:
5059:
5045:
5031:
5017:
5014:Ingmar Bergman
5003:
4989:
4975:
4961:
4947:
4944:Bertrand Blier
4933:
4919:
4904:
4902:
4898:
4897:
4895:
4894:
4891:Akira Kurosawa
4880:
4866:
4852:
4838:
4824:
4810:
4796:
4782:
4768:
4765:Claude Lelouch
4754:
4736:
4722:
4708:
4694:
4691:Ingmar Bergman
4680:
4677:Ingmar Bergman
4666:
4652:
4638:
4624:
4609:
4607:
4603:
4602:
4600:
4599:
4585:
4571:
4569:1953: No Award
4566:
4552:
4549:Akira Kurosawa
4538:
4524:
4510:
4507:Maurice Cloche
4496:
4481:
4479:
4473:
4472:
4465:
4464:
4457:
4450:
4442:
4436:
4433:
4432:
4420:
4419:
4404:
4393:
4382:
4371:
4358:
4357:External links
4355:
4353:
4352:
4345:
4320:
4313:
4303:
4296:Flaiano, Ennio
4290:
4275:
4261:
4246:
4244:
4241:
4239:
4238:
4231:
4224:
4210:
4196:Kezich, Tullio
4193:
4173:
4166:
4152:
4138:
4121:
4107:
4090:
4076:Alpert, Hollis
4072:
4070:
4067:
4064:
4063:
4038:
4031:
4011:
3989:
3982:
3962:
3935:
3918:
3905:
3882:
3852:
3834:
3827:
3807:
3798:
3791:
3766:
3757:
3748:
3739:
3732:
3714:
3703:(4): 704–716.
3687:
3668:(3): 437–444.
3652:
3626:
3604:
3595:
3569:
3541:
3514:
3488:
3485:on 1 May 2010.
3466:
3448:
3434:
3408:
3378:
3356:
3330:
3308:
3301:
3283:
3267:
3251:
3232:
3220:New York Times
3206:
3191:
3176:
3161:
3142:
3123:
3106:
3099:
3078:
3047:
3032:
3001:
2992:
2980:
2968:
2959:
2950:
2941:
2928:
2908:
2882:
2860:
2837:
2828:
2807:
2782:Film Quarterly
2772:
2745:
2723:
2716:
2696:
2662:
2655:
2629:
2622:
2598:
2575:
2566:
2557:
2548:
2539:
2532:
2493:
2484:
2475:
2466:
2454:New York Times
2440:
2431:
2413:
2401:
2387:
2380:
2354:
2345:
2331:
2329:Alpert, 91-92.
2322:
2313:
2300:
2293:
2273:
2264:
2255:
2241:
2232:
2214:
2188:
2170:
2132:
2123:
2110:
2103:
2083:
2076:
2056:
2047:
2038:
2031:
2007:
1992:Ebert, Roger.
1981:
1956:
1933:
1905:
1896:
1872:
1863:
1853:
1852:
1850:
1847:
1846:
1845:
1840:
1835:
1828:
1825:
1692:Julian Jarrold
1684:Akira Kurosawa
1656:Andreas Dresen
1591:Vernon Young,
1575:
1573:
1570:
1567:
1566:
1563:
1560:
1554:
1553:
1550:
1547:
1544:
1538:
1537:
1534:
1531:
1528:
1522:
1521:
1518:
1515:
1512:
1505:
1504:
1501:
1498:
1494:
1493:
1490:
1481:
1477:
1476:
1473:
1470:
1467:
1461:
1460:
1457:
1452:
1448:
1447:
1444:
1441:
1438:
1432:
1431:
1428:
1425:
1422:
1416:
1415:
1412:
1409:
1406:
1400:
1399:
1396:
1390:Tullio Pinelli
1386:
1380:
1379:
1376:
1371:
1366:
1364:Academy Awards
1360:
1359:
1356:
1353:
1350:
1337:
1334:
1330:Akira Kurosawa
1255:New York Times
1202:, in his book
1173:
1170:
1160:New York Times
1025:Reviewing for
965:Rita Kempley,
953:
951:
948:
946:
943:
941:
938:
909:
906:
854:
851:
808:Akira Kurosawa
804:Toshiro Mifune
773:
770:
704:Attila the Hun
621:
618:
609:Fourteen Hours
593:Ingrid Bergman
581:Giuseppe Amato
579:, directed by
553:Burt Lancaster
528:
525:
477:Tullio Pinelli
427:
424:
422:
419:
418:
417:
414:
411:
405:
399:
393:
385:
382:
329:
326:
268:Tullio Pinelli
245:
244:
241:
237:
236:
233:
229:
228:
225:
222:
219:
218:
216:
215:
204:
188:
186:
183:
180:
179:
174:
173:Distributed by
170:
169:
166:
164:
159:
156:
155:
150:
146:
145:
140:
136:
135:
128:
127:Cinematography
124:
123:
110:
106:
105:
96:
92:
91:
90:Tullio Pinelli
86:
82:
81:
75:Tullio Pinelli
70:
66:
65:
60:
56:
55:
52:
44:
43:
26:
9:
6:
4:
3:
2:
8586:
8575:
8572:
8570:
8567:
8565:
8562:
8560:
8557:
8555:
8552:
8550:
8547:
8545:
8542:
8540:
8537:
8535:
8532:
8530:
8527:
8525:
8522:
8520:
8517:
8515:
8512:
8510:
8507:
8505:
8502:
8500:
8497:
8495:
8492:
8490:
8487:
8485:
8482:
8480:
8477:
8476:
8474:
8467:
8457:
8455:
8451:
8449:
8446:
8444:
8442:
8438:
8436:
8434:
8430:
8428:
8425:
8423:
8420:
8419:
8417:
8413:
8406:
8405:
8401:
8398:
8397:
8393:
8390:
8389:
8385:
8382:
8381:
8380:Four Ways Out
8377:
8374:
8373:
8369:
8366:
8365:
8361:
8358:
8357:
8353:
8350:
8349:
8345:
8342:
8341:
8337:
8334:
8333:
8329:
8326:
8325:
8321:
8318:
8317:
8313:
8310:
8309:
8305:
8302:
8301:
8297:
8294:
8293:
8289:
8286:
8285:
8281:
8280:
8278:
8274:
8267:
8266:
8262:
8259:
8258:
8254:
8251:
8250:
8246:
8243:
8242:
8238:
8235:
8234:
8233:City of Women
8230:
8227:
8226:
8222:
8219:
8218:
8214:
8211:
8210:
8206:
8203:
8202:
8198:
8195:
8194:
8190:
8187:
8186:
8182:
8179:
8178:
8174:
8171:
8170:
8166:
8163:
8162:
8158:
8155:
8154:
8150:
8147:
8146:
8145:Boccaccio '70
8142:
8139:
8138:
8137:La dolce vita
8134:
8131:
8130:
8126:
8123:
8122:
8118:
8115:
8114:
8110:
8107:
8106:
8102:
8099:
8098:
8094:
8091:
8090:
8086:
8083:
8082:
8078:
8077:
8075:
8071:
8066:
8059:
8054:
8052:
8047:
8045:
8040:
8039:
8036:
8017:
8016:
8011:
8010:
8009:Little Odessa
8005:
8004:
8000:
7997:
7996:
7992:
7989:
7988:
7983:
7982:
7977:
7976:
7972:
7969:
7968:
7963:
7962:
7957:
7956:
7952:
7949:
7948:
7943:
7942:
7938:
7935:
7934:
7930:
7929:
7927:
7923:
7916:
7915:
7911:
7908:
7907:
7902:
7901:
7900:Ciske the Rat
7896:
7895:
7894:The Big Knife
7890:
7889:
7885:
7882:
7881:
7876:
7875:
7874:Seven Samurai
7870:
7869:
7864:
7863:
7859:
7856:
7855:
7850:
7849:
7844:
7843:
7838:
7837:
7832:
7831:
7826:
7825:
7821:
7820:
7818:
7814:
7810:
7803:
7798:
7796:
7791:
7789:
7784:
7783:
7780:
7766:
7765:
7760:
7756:
7755:
7750:
7746:
7745:
7740:
7736:
7735:
7730:
7726:
7725:
7720:
7716:
7715:
7710:
7706:
7705:
7700:
7696:
7695:
7690:
7686:
7685:
7680:
7676:
7675:
7670:
7666:
7665:
7660:
7656:
7655:
7650:
7646:
7645:
7640:
7636:
7635:
7630:
7626:
7625:
7620:
7616:
7615:
7610:
7606:
7605:
7600:
7596:
7595:
7590:
7586:
7585:
7580:
7576:
7575:
7574:Bad Education
7570:
7566:
7565:
7560:
7556:
7555:
7550:
7546:
7545:
7540:
7539:
7537:
7533:
7525:
7524:
7519:
7515:
7514:
7509:
7505:
7504:
7499:
7495:
7494:
7489:
7485:
7484:
7479:
7475:
7474:
7469:
7465:
7464:
7459:
7455:
7454:
7449:
7445:
7444:
7439:
7435:
7434:
7433:Europa Europa
7429:
7425:
7424:
7419:
7415:
7414:
7409:
7405:
7404:
7399:
7395:
7394:
7389:
7385:
7384:
7379:
7375:
7374:
7369:
7365:
7364:
7359:
7355:
7354:
7349:
7345:
7344:
7339:
7335:
7334:
7329:
7325:
7324:
7319:
7315:
7314:
7309:
7305:
7304:
7299:
7298:
7296:
7292:
7283:
7279:
7278:
7277:War and Peace
7273:
7269:
7268:
7263:
7259:
7258:
7253:
7249:
7248:
7243:
7239:
7238:
7233:
7229:
7228:
7223:
7218:
7214:
7213:
7208:
7204:
7203:
7198:
7194:
7193:
7192:The 400 Blows
7188:
7184:
7183:
7178:
7174:
7173:
7168:
7164:
7163:
7158:
7154:
7153:
7148:
7144:
7143:
7138:
7134:
7133:
7128:
7124:
7123:
7118:
7114:
7113:
7108:
7104:
7103:
7098:
7094:
7093:
7088:
7084:
7083:
7078:
7074:
7073:
7068:
7064:
7063:
7058:
7053:
7049:
7048:
7043:
7039:
7038:
7033:
7029:
7028:
7023:
7019:
7018:
7013:
7012:
7010:
7006:
7002:
6995:
6990:
6988:
6983:
6981:
6976:
6975:
6972:
6959:
6958:
6954:
6951:
6950:
6946:
6943:
6942:
6938:
6935:
6934:
6930:
6927:
6926:
6922:
6919:
6918:
6914:
6911:
6910:
6906:
6903:
6902:
6898:
6895:
6894:
6890:
6887:
6886:
6882:
6879:
6878:
6874:
6871:
6870:
6866:
6863:
6862:
6858:
6855:
6854:
6850:
6847:
6846:
6842:
6839:
6838:
6834:
6831:
6830:
6826:
6823:
6822:
6818:
6815:
6814:
6810:
6807:
6806:
6802:
6799:
6798:
6794:
6791:
6790:
6786:
6783:
6782:
6778:
6775:
6774:
6770:
6767:
6766:
6762:
6759:
6758:
6754:
6751:
6750:
6746:
6743:
6742:
6738:
6735:
6734:
6730:
6727:
6726:
6722:
6719:
6718:
6717:Jurassic Park
6714:
6711:
6710:
6706:
6703:
6702:
6698:
6695:
6694:
6690:
6687:
6686:
6682:
6679:
6678:
6674:
6671:
6670:
6666:
6663:
6662:
6658:
6655:
6654:
6650:
6647:
6646:
6642:
6639:
6638:
6634:
6631:
6630:
6626:
6623:
6622:
6618:
6615:
6614:
6610:
6607:
6606:
6602:
6599:
6598:
6594:
6591:
6590:
6586:
6583:
6582:
6578:
6575:
6574:
6570:
6567:
6566:
6562:
6559:
6558:
6554:
6551:
6550:
6546:
6543:
6542:
6538:
6535:
6534:
6530:
6527:
6526:
6522:
6519:
6518:
6514:
6511:
6510:
6506:
6503:
6502:
6498:
6495:
6494:
6490:
6487:
6486:
6482:
6479:
6478:
6474:
6471:
6470:
6466:
6463:
6462:
6458:
6455:
6454:
6450:
6447:
6446:
6442:
6441:
6438:
6434:
6427:
6422:
6420:
6415:
6413:
6408:
6407:
6404:
6390:
6389:
6384:
6380:
6379:
6374:
6370:
6369:
6364:
6363:
6361:
6357:
6349:
6348:
6343:
6339:
6338:
6333:
6329:
6328:
6323:
6319:
6318:
6313:
6309:
6308:
6303:
6299:
6298:
6293:
6289:
6288:
6287:Human Capital
6283:
6279:
6278:
6273:
6269:
6268:
6263:
6259:
6258:
6253:
6249:
6248:
6243:
6239:
6238:
6233:
6229:
6228:
6223:
6219:
6218:
6213:
6209:
6208:
6203:
6199:
6198:
6193:
6189:
6188:
6183:
6179:
6178:
6173:
6169:
6168:
6163:
6159:
6158:
6153:
6152:
6150:
6146:
6138:
6137:
6132:
6128:
6127:
6122:
6118:
6117:
6112:
6108:
6107:
6102:
6098:
6097:
6096:My Generation
6092:
6088:
6087:
6082:
6078:
6077:
6072:
6068:
6067:
6062:
6058:
6057:
6052:
6048:
6047:
6042:
6038:
6037:
6032:
6028:
6027:
6022:
6018:
6017:
6012:
6008:
6007:
6002:
5998:
5997:
5992:
5991:
5986:
5985:
5980:
5976:
5975:
5970:
5966:
5965:
5960:
5956:
5955:
5950:
5946:
5945:
5940:
5939:
5937:
5933:
5925:
5924:
5919:
5915:
5914:
5909:
5905:
5904:
5899:
5895:
5894:
5893:A Special Day
5889:
5885:
5884:
5879:
5875:
5874:
5869:
5865:
5864:
5859:
5855:
5854:
5849:
5845:
5844:
5839:
5835:
5834:
5829:
5825:
5824:
5819:
5815:
5814:
5809:
5805:
5804:
5803:China Is Near
5799:
5795:
5794:
5789:
5785:
5784:
5779:
5775:
5774:
5769:
5765:
5764:
5759:
5755:
5754:
5749:
5745:
5744:
5739:
5738:
5736:
5732:
5724:
5723:
5718:
5714:
5713:
5712:The Great War
5708:
5704:
5703:
5698:
5694:
5693:
5688:
5684:
5683:
5678:
5674:
5673:
5668:
5664:
5663:
5658:
5654:
5653:
5648:
5647:
5645:
5641:
5637:
5633:
5632:Academy Award
5629:
5622:
5617:
5615:
5610:
5608:
5603:
5602:
5599:
5586:
5582:
5581:
5575:
5572:
5571:Edward Berger
5568:
5567:
5561:
5558:
5554:
5553:
5547:
5544:
5540:
5539:
5538:Another Round
5533:
5530:
5526:
5525:
5519:
5516:
5512:
5511:
5505:
5502:
5498:
5497:
5491:
5488:
5484:
5483:
5477:
5474:
5470:
5469:
5463:
5460:
5456:
5455:
5449:
5446:
5442:
5441:
5435:
5432:
5428:
5427:
5421:
5418:
5414:
5413:
5407:
5404:
5400:
5399:
5393:
5390:
5386:
5385:
5379:
5376:
5375:Yōjirō Takita
5372:
5371:
5365:
5362:
5358:
5357:
5351:
5348:
5344:
5343:
5337:
5334:
5330:
5329:
5323:
5320:
5316:
5315:
5309:
5306:
5302:
5301:
5295:
5292:
5291:Caroline Link
5288:
5287:
5281:
5278:
5277:Danis Tanović
5274:
5273:
5272:No Man's Land
5267:
5266:
5264:
5260:
5253:
5249:
5248:
5242:
5239:
5235:
5234:
5228:
5225:
5221:
5220:
5214:
5211:
5210:Mike van Diem
5207:
5206:
5200:
5197:
5193:
5192:
5186:
5183:
5179:
5178:
5172:
5169:
5165:
5164:
5158:
5155:
5151:
5150:
5144:
5141:
5137:
5136:
5130:
5127:
5123:
5122:
5116:
5113:
5112:Xavier Koller
5109:
5108:
5102:
5099:
5095:
5094:
5088:
5085:
5081:
5080:
5074:
5071:
5067:
5066:
5060:
5057:
5053:
5052:
5046:
5043:
5039:
5038:
5032:
5029:
5028:Richard Dembo
5025:
5024:
5018:
5015:
5011:
5010:
5004:
5001:
4997:
4996:
4990:
4987:
4983:
4982:
4976:
4973:
4969:
4968:
4962:
4959:
4955:
4954:
4948:
4945:
4941:
4940:
4934:
4931:
4930:Moshé Mizrahi
4927:
4926:
4920:
4917:
4913:
4912:
4906:
4905:
4903:
4899:
4892:
4888:
4887:
4881:
4878:
4874:
4873:
4867:
4864:
4860:
4859:
4858:Day for Night
4853:
4850:
4846:
4845:
4839:
4836:
4832:
4831:
4825:
4822:
4818:
4817:
4811:
4808:
4804:
4803:
4797:
4794:
4790:
4789:
4788:War and Peace
4783:
4780:
4776:
4775:
4769:
4766:
4762:
4761:
4755:
4752:
4748:
4744:
4743:
4737:
4734:
4730:
4729:
4723:
4720:
4716:
4715:
4709:
4706:
4702:
4701:
4695:
4692:
4688:
4687:
4681:
4678:
4674:
4673:
4667:
4664:
4660:
4659:
4658:Black Orpheus
4653:
4650:
4646:
4645:
4639:
4636:
4632:
4631:
4625:
4622:
4618:
4617:
4611:
4610:
4608:
4604:
4597:
4593:
4592:
4586:
4583:
4579:
4578:
4572:
4567:
4564:
4560:
4559:
4553:
4550:
4546:
4545:
4539:
4536:
4532:
4531:
4525:
4522:
4518:
4517:
4511:
4508:
4504:
4503:
4497:
4494:
4490:
4489:
4483:
4482:
4480:
4474:
4470:
4463:
4458:
4456:
4451:
4449:
4444:
4443:
4440:
4434:
4430:
4424:
4418:
4414:
4410:
4409:
4405:
4403:
4399:
4398:
4394:
4392:
4388:
4387:
4383:
4381:
4377:
4376:
4372:
4370:
4366:
4365:
4361:
4360:
4350:
4346:
4344:
4340:
4336:
4335:88-7715-790-9
4332:
4328:
4321:
4318:
4314:
4311:
4304:
4301:
4297:
4291:
4288:
4287:0-8135-1237-9
4284:
4280:
4276:
4273:
4269:
4262:
4259:
4255:
4248:
4247:
4236:
4232:
4229:
4225:
4223:
4219:
4215:
4211:
4209:
4208:0-571-21168-2
4205:
4201:
4197:
4194:
4192:
4191:0-8109-4617-3
4188:
4184:
4183:
4178:
4174:
4171:
4167:
4165:
4164:0-8065-0928-7
4161:
4157:
4153:
4151:
4147:
4143:
4139:
4137:
4133:
4129:
4125:
4122:
4120:
4116:
4112:
4108:
4106:
4105:0-312-11273-4
4102:
4098:
4094:
4091:
4089:
4085:
4081:
4077:
4074:
4073:
4052:
4048:
4042:
4034:
4028:
4024:
4023:
4015:
3999:
3993:
3985:
3979:
3975:
3974:
3966:
3950:
3946:
3939:
3933:
3929:
3928:
3922:
3915:
3909:
3894:
3893:
3886:
3870:
3866:
3862:
3856:
3848:
3844:
3838:
3830:
3824:
3820:
3819:
3811:
3802:
3794:
3788:
3784:
3783:
3775:
3773:
3771:
3761:
3752:
3743:
3735:
3729:
3725:
3718:
3710:
3706:
3702:
3698:
3691:
3683:
3679:
3675:
3671:
3667:
3663:
3662:Hudson Review
3656:
3641:
3637:
3630:
3614:
3608:
3599:
3584:
3580:
3573:
3558:
3557:
3552:
3545:
3529:
3525:
3518:
3502:
3498:
3492:
3484:
3480:
3476:
3470:
3462:
3458:
3452:
3437:
3431:
3427:
3422:
3421:
3412:
3396:
3392:
3388:
3382:
3366:
3360:
3344:
3340:
3334:
3318:
3312:
3304:
3298:
3294:
3287:
3280:
3278:
3271:
3264:
3262:
3255:
3247:
3243:
3236:
3221:
3217:
3210:
3202:
3195:
3187:
3180:
3172:
3165:
3158:(3): 150–151.
3157:
3153:
3146:
3139:(8): 396–397.
3138:
3134:
3127:
3120:
3116:
3110:
3102:
3096:
3092:
3085:
3083:
3066:
3062:
3058:
3051:
3044:
3043:
3036:
3028:
3024:
3020:
3016:
3013:(17): 38–43.
3012:
3005:
2996:
2989:
2984:
2977:
2972:
2963:
2954:
2945:
2938:
2937:Il Secolo XIX
2932:
2925:
2921:
2915:
2913:
2897:
2893:
2886:
2870:
2864:
2848:
2841:
2832:
2826:
2824:
2818:
2817:
2811:
2803:
2799:
2795:
2791:
2787:
2783:
2776:
2760:
2756:
2749:
2741:
2737:
2730:
2728:
2719:
2713:
2709:
2708:
2700:
2684:
2680:
2676:
2669:
2667:
2658:
2652:
2648:
2643:
2642:
2633:
2625:
2619:
2615:
2611:
2610:
2602:
2586:
2579:
2570:
2561:
2552:
2543:
2535:
2529:
2525:
2520:
2519:
2510:
2508:
2506:
2504:
2502:
2500:
2498:
2488:
2479:
2470:
2455:
2451:
2444:
2435:
2426:
2424:
2422:
2420:
2418:
2408:
2406:
2396:
2394:
2392:
2383:
2377:
2373:
2368:
2367:
2366:One Man Tango
2358:
2349:
2340:
2338:
2336:
2326:
2317:
2310:
2304:
2296:
2290:
2286:
2285:
2277:
2268:
2259:
2250:
2248:
2246:
2236:
2227:
2225:
2223:
2221:
2219:
2202:
2198:
2192:
2183:
2181:
2179:
2177:
2175:
2158:
2154:
2147:
2145:
2143:
2141:
2139:
2137:
2127:
2120:
2114:
2106:
2100:
2096:
2095:
2087:
2079:
2073:
2069:
2068:
2060:
2051:
2042:
2034:
2028:
2024:
2020:
2019:
2011:
1995:
1988:
1986:
1970:
1966:
1960:
1953:
1949:
1946:
1944:
1937:
1922:
1918:
1912:
1910:
1900:
1882:
1876:
1867:
1858:
1854:
1844:
1841:
1839:
1836:
1834:
1831:
1830:
1824:
1822:
1821:
1816:
1811:
1809:
1805:
1804:Academy Award
1801:
1797:
1793:
1789:
1785:
1780:
1778:
1774:
1770:
1766:
1762:
1758:
1753:
1751:
1747:
1743:
1739:
1734:
1732:
1728:
1724:
1720:
1716:
1711:
1709:
1705:
1701:
1697:
1693:
1689:
1688:Kazuhiro Soda
1685:
1681:
1677:
1673:
1669:
1665:
1661:
1657:
1653:
1649:
1648:Anton Corbijn
1645:
1641:
1636:
1634:
1630:
1626:
1622:
1618:
1614:
1609:
1605:
1599:
1596:
1595:
1594:Hudson Review
1587:
1585:
1581:
1564:
1561:
1559:
1556:
1555:
1551:
1548:
1545:
1543:
1539:
1535:
1532:
1529:
1527:
1524:
1523:
1519:
1516:
1513:
1510:
1507:
1506:
1502:
1499:
1496:
1495:
1491:
1489:
1485:
1482:
1479:
1478:
1474:
1471:
1468:
1466:
1462:
1458:
1456:
1453:
1450:
1449:
1445:
1442:
1439:
1437:
1433:
1429:
1426:
1423:
1421:
1418:
1417:
1413:
1410:
1407:
1405:
1402:
1401:
1397:
1395:
1394:Ennio Flaiano
1391:
1387:
1385:
1382:
1381:
1377:
1375:
1372:
1370:
1367:
1365:
1361:
1357:
1354:
1351:
1348:
1347:
1344:
1342:
1333:
1331:
1326:
1324:
1320:
1316:
1312:
1308:
1304:
1301:In 1995, the
1299:
1297:
1293:
1289:
1288:
1283:
1280:list. In the
1279:
1275:
1271:
1267:
1266:
1261:
1257:
1256:
1251:
1246:
1244:
1240:
1235:
1233:
1232:
1227:
1226:
1221:
1220:
1219:La Dolce Vita
1215:
1211:
1207:
1206:
1201:
1196:
1194:
1190:
1183:
1178:
1169:
1165:
1162:
1161:
1156:
1152:
1148:
1147:
1142:
1141:
1136:
1135:
1130:
1129:
1124:
1123:
1116:
1111:
1107:
1105:
1098:
1096:
1092:
1091:
1085:
1081:
1077:
1073:
1067:
1062:
1060:
1056:
1055:
1050:
1045:
1042:
1041:Tullio Kezich
1037:
1034:
1033:Bianco e Nero
1030:
1029:
1023:
1019:
1017:
1013:
1012:
1007:
1003:
1000:jury awarded
999:
993:
988:
986:
985:
984:Il Secolo XIX
979:
973:
970:
969:
961:
959:
937:
935:
934:
929:
928:
923:
919:
915:
905:
903:
902:
897:
893:
889:
885:
880:
878:
873:
868:
864:
860:
850:
848:
844:
839:
835:
830:
826:
824:
819:
815:
814:
809:
805:
801:
796:
793:
789:
784:
780:
779:Liliana Betti
769:
767:
762:
760:
756:
750:
747:
742:
737:
735:
731:
719:
715:
713:
707:
705:
700:
696:
692:
688:
684:
680:
679:
673:
671:
666:
663:
659:
653:
651:
647:
643:
639:
635:
631:
627:
617:
615:
611:
610:
605:
600:
598:
594:
590:
586:
582:
578:
577:
571:
569:
568:
563:
559:
558:Alberto Sordi
554:
550:
546:
542:
533:
524:
522:
518:
517:
512:
508:
507:Ennio Flaiano
502:
500:
496:
492:
491:
484:
482:
481:synchronicity
478:
474:
470:
465:
462:
455:
451:
447:
446:
442:
440:
432:
415:
412:
409:
406:
403:
400:
397:
396:Anthony Quinn
394:
391:
388:
387:
381:
377:
373:
369:
365:
362:
357:
355:
351:
347:
341:
339:
335:
325:
323:
319:
314:
312:
308:
304:
300:
295:
293:
288:
283:
281:
280:Anthony Quinn
277:
273:
272:Ennio Flaiano
269:
265:
261:
257:
253:
252:
242:
238:
234:
230:
226:
220:
205:
202:
190:
189:
187:
184:Release dates
181:
178:
175:
171:
165:
157:
154:
151:
147:
144:
141:
137:
134:Carlo Carlini
132:
129:
125:
122:
118:
117:Anthony Quinn
114:
111:
107:
104:
100:
97:
93:
87:
83:
80:
79:Ennio Flaiano
76:
71:
69:Screenplay by
67:
64:
61:
57:
50:
45:
40:
37:
33:
19:
8509:Circus films
8466:
8453:
8440:
8432:
8402:
8394:
8386:
8378:
8372:Path of Hope
8370:
8362:
8354:
8348:City of Pain
8346:
8338:
8332:Without Pity
8330:
8322:
8314:
8306:
8298:
8290:
8282:
8263:
8255:
8247:
8239:
8231:
8223:
8215:
8207:
8199:
8191:
8183:
8175:
8167:
8159:
8151:
8143:
8135:
8127:
8119:
8112:
8111:
8103:
8095:
8087:
8079:
8013:
8007:
8001:
7995:Kosh ba kosh
7993:
7985:
7979:
7975:Luxury Hotel
7973:
7965:
7959:
7953:
7945:
7939:
7931:
7912:
7904:
7898:
7892:
7886:
7879:
7878:
7872:
7866:
7860:
7852:
7846:
7840:
7834:
7830:Moulin Rouge
7828:
7822:
7762:
7752:
7742:
7732:
7722:
7712:
7702:
7694:Toni Erdmann
7692:
7682:
7672:
7662:
7652:
7644:A Separation
7642:
7632:
7624:Summer Hours
7622:
7612:
7602:
7592:
7582:
7572:
7562:
7552:
7542:
7535:2001–present
7521:
7511:
7501:
7491:
7481:
7471:
7461:
7451:
7441:
7431:
7421:
7411:
7401:
7391:
7381:
7371:
7361:
7351:
7341:
7331:
7321:
7311:
7301:
7275:
7265:
7255:
7245:
7235:
7225:
7210:
7200:
7190:
7180:
7170:
7161:
7160:
7150:
7142:Gate of Hell
7140:
7130:
7120:
7110:
7100:
7090:
7080:
7070:
7060:
7045:
7035:
7025:
7015:
6955:
6947:
6939:
6931:
6923:
6915:
6907:
6899:
6891:
6883:
6875:
6867:
6859:
6851:
6843:
6835:
6827:
6819:
6811:
6805:Mystic River
6803:
6795:
6787:
6779:
6771:
6763:
6755:
6747:
6739:
6731:
6725:Pulp Fiction
6723:
6715:
6707:
6699:
6691:
6683:
6675:
6667:
6659:
6651:
6643:
6635:
6627:
6621:The Tin Drum
6619:
6611:
6603:
6595:
6587:
6579:
6571:
6563:
6557:Mary Poppins
6555:
6547:
6539:
6531:
6523:
6517:On the Beach
6515:
6509:12 Angry Men
6507:
6499:
6492:
6491:
6483:
6477:East of Eden
6475:
6467:
6459:
6451:
6443:
6386:
6376:
6366:
6359:2021–present
6345:
6335:
6325:
6315:
6305:
6297:Don't Be Bad
6295:
6285:
6275:
6265:
6255:
6245:
6235:
6225:
6215:
6205:
6195:
6185:
6175:
6165:
6155:
6134:
6124:
6114:
6106:The Best Man
6104:
6094:
6084:
6074:
6064:
6054:
6046:Mediterraneo
6044:
6034:
6024:
6014:
6004:
5996:Summer Night
5994:
5982:
5972:
5962:
5952:
5942:
5921:
5911:
5901:
5891:
5881:
5871:
5861:
5851:
5841:
5831:
5821:
5811:
5801:
5791:
5781:
5771:
5761:
5751:
5741:
5720:
5710:
5700:
5690:
5681:
5680:
5670:
5660:
5650:
5578:
5564:
5552:Drive My Car
5550:
5536:
5529:Bong Joon-ho
5522:
5508:
5494:
5482:The Salesman
5480:
5473:László Nemes
5466:
5452:
5438:
5424:
5412:A Separation
5410:
5403:Susanne Bier
5396:
5382:
5368:
5354:
5340:
5326:
5312:
5305:Denys Arcand
5298:
5284:
5270:
5262:2001–present
5245:
5231:
5217:
5203:
5189:
5175:
5161:
5149:Belle Époque
5147:
5133:
5121:Mediterraneo
5119:
5105:
5091:
5084:Bille August
5077:
5070:Gabriel Axel
5063:
5049:
5035:
5021:
5007:
4993:
4986:István Szabó
4979:
4965:
4953:The Tin Drum
4951:
4937:
4923:
4909:
4884:
4870:
4856:
4842:
4828:
4814:
4807:Costa-Gavras
4800:
4786:
4772:
4758:
4740:
4726:
4712:
4698:
4684:
4670:
4663:Marcel Camus
4656:
4649:Jacques Tati
4642:
4628:
4615:
4614:
4589:
4577:Gate of Hell
4575:
4563:René Clément
4556:
4542:
4535:René Clément
4528:
4514:
4500:
4486:
4428:
4411:an essay by
4407:
4396:
4385:
4374:
4363:
4348:
4326:
4323:(in Italian)
4316:
4309:
4306:(in Italian)
4299:
4293:(in Italian)
4278:
4271:
4268:Chris Marker
4258:Cinema Nuovo
4257:
4253:
4250:(in Italian)
4234:
4227:
4213:
4199:
4180:
4169:
4155:
4141:
4127:
4110:
4096:
4093:Baxter, John
4079:
4069:Bibliography
4054:. Retrieved
4050:
4041:
4021:
4014:
4002:. Retrieved
3992:
3972:
3965:
3955:30 September
3953:. Retrieved
3948:
3938:
3925:
3921:
3913:
3908:
3896:. Retrieved
3891:
3885:
3873:. Retrieved
3869:the original
3864:
3861:"strada, La"
3855:
3846:
3837:
3817:
3810:
3801:
3781:
3760:
3751:
3742:
3723:
3717:
3700:
3696:
3690:
3665:
3661:
3655:
3643:. Retrieved
3639:
3629:
3617:. Retrieved
3607:
3598:
3586:. Retrieved
3582:
3572:
3562:20 September
3560:. Retrieved
3554:
3544:
3532:. Retrieved
3527:
3517:
3505:. Retrieved
3500:
3491:
3483:the original
3479:Kinema Junpo
3478:
3469:
3461:filmsite.org
3460:
3451:
3439:. Retrieved
3419:
3411:
3399:. Retrieved
3395:the original
3390:
3381:
3369:. Retrieved
3359:
3347:. Retrieved
3343:the original
3333:
3323:14 September
3321:. Retrieved
3311:
3292:
3286:
3276:
3270:
3260:
3254:
3245:
3242:Film Culture
3241:
3235:
3223:. Retrieved
3219:
3209:
3200:
3194:
3185:
3179:
3170:
3164:
3155:
3151:
3145:
3136:
3132:
3126:
3119:Chris Marker
3114:
3109:
3090:
3069:. Retrieved
3065:the original
3060:
3050:
3040:
3035:
3010:
3004:
2995:
2987:
2983:
2975:
2971:
2962:
2957:Baxter, 113.
2953:
2948:Baxter, 112.
2944:
2936:
2931:
2919:
2899:. Retrieved
2895:
2885:
2875:30 September
2873:. Retrieved
2863:
2853:30 September
2851:. Retrieved
2840:
2831:
2822:
2821:Nino Rota -
2814:
2810:
2788:(2): 17–25.
2785:
2781:
2775:
2765:30 September
2763:. Retrieved
2759:the original
2748:
2739:
2735:
2706:
2699:
2687:. Retrieved
2683:the original
2678:
2640:
2632:
2608:
2601:
2589:. Retrieved
2578:
2569:
2560:
2551:
2546:Baxter, 110.
2542:
2517:
2487:
2478:
2473:Baxter, 107.
2469:
2457:. Retrieved
2453:
2443:
2434:
2411:Baxter, 111.
2365:
2357:
2352:Kezich, 149.
2348:
2325:
2316:
2308:
2303:
2283:
2276:
2267:
2262:Baxter, 109.
2258:
2235:
2207:21 September
2205:. Retrieved
2200:
2191:
2163:21 September
2161:. Retrieved
2156:
2126:
2118:
2113:
2093:
2086:
2066:
2059:
2050:
2041:
2017:
2010:
1998:. Retrieved
1972:. Retrieved
1968:
1959:
1942:
1936:
1924:. Retrieved
1920:
1899:
1889:28 September
1887:. Retrieved
1875:
1870:Baxter, 105.
1866:
1857:
1818:
1812:
1800:Mickey Mouse
1795:
1791:
1787:
1781:
1776:
1772:
1769:Bart Simpson
1754:
1749:
1741:
1735:
1712:
1707:
1644:Stanley Kwan
1639:
1637:
1632:
1612:
1607:
1601:
1592:
1589:
1583:
1579:
1577:
1546:Silver Lion
1404:Bodil Awards
1340:
1339:
1327:
1319:Pope Francis
1314:
1310:
1306:
1300:
1295:
1285:
1277:
1274:kinema Junpo
1263:
1259:
1253:
1247:
1238:
1236:
1229:
1223:
1217:
1213:
1209:
1203:
1197:
1192:
1188:
1186:
1181:
1166:
1158:
1150:
1145:
1138:
1132:
1126:
1120:
1118:
1113:
1109:
1103:
1100:
1088:
1079:
1069:
1064:
1058:
1052:
1046:
1038:
1032:
1026:
1024:
1020:
1009:
1001:
995:
990:
982:
977:
975:
966:
963:
957:
955:
931:
925:
911:
908:Distribution
899:
883:
881:
871:
858:
856:
842:
833:
831:
827:
822:
818:Michel Chion
811:
797:
791:
775:
763:
758:
755:pickup shots
751:
738:
734:Sophia Loren
726:
708:
698:
694:
690:
677:
674:
667:
654:
623:
613:
607:
601:
596:
574:
572:
565:
561:
538:
520:
514:
511:Luigi Rovere
504:
498:
494:
488:
486:
466:
460:
458:
453:
443:
437:
408:Aldo Silvani
392:as Gelsomina
378:
374:
370:
366:
358:
342:
331:
315:
298:
296:
286:
284:
262:directed by
255:
250:
249:
248:
223:Running time
214: (Italy)
36:
8097:I Vitelloni
8073:As director
8067:filmography
7981:Jamón jamón
7854:I Vitelloni
7564:City of God
6885:Jersey Boys
6845:Gran Torino
6581:Taxi Driver
6388:Io capitano
6337:The Traitor
6307:Fire at Sea
6207:Golden Door
5468:Son of Saul
5051:The Assault
5042:Luis Puenzo
4925:Madame Rosa
4886:Dersu Uzala
4849:Luis Buñuel
4779:Jiří Menzel
4427:Awards for
4264:(in French)
4051:inducks.org
3998:"La Strada"
3847:openculture
3615:(in Danish)
3071:17 December
2835:Betti, 161.
2585:"La Strada"
2555:Betti, 185.
2399:Alpert, 92.
2320:Alpert, 94.
2271:Alpert, 91.
2239:Alpert, 90.
2186:Alpert, 93.
2153:"La Strada"
1994:"La Strada"
1808:Walt Disney
1672:Rajko Grlić
1668:Mike Newell
1660:Jiří Menzel
1558:Golden Lion
1488:Carlo Ponti
1355:Recipients
1228:(1963) and
1200:Roger Ebert
1095:André Bazin
933:Raging Bull
927:Taxi Driver
918:Silver Lion
800:Arnoldo Foà
783:John Baxter
660:viewed the
614:I Vitelloni
597:I Vitelloni
567:I Vitelloni
545:Carlo Ponti
490:I vitelloni
450:Roger Ebert
227:108 minutes
143:Leo Catozzo
103:Carlo Ponti
95:Produced by
59:Directed by
8479:1954 films
8473:Categories
8448:2003 book)
8404:Fortunella
8257:Intervista
8193:The Clowns
7473:Wild Reeds
7152:Umberto D.
6861:Black Swan
6853:District 9
6829:Dreamgirls
6637:Flashdance
6257:Terraferma
6197:Don't Tell
6036:Open Doors
6006:The Family
5370:Departures
5333:Gavin Hood
5196:Jan Svěrák
4821:Elio Petri
4751:Elmar Klos
4478:(Honorary)
4279:La Strada.
4119:0316092304
4056:6 December
4004:10 October
3875:10 October
3645:25 October
3588:23 January
3534:17 October
3507:10 January
3401:10 October
3371:10 October
3349:10 October
3275:Salachas,
3248:(13): 3–4.
2742:(1): 2–15.
2094:I, Fellini
1926:24 October
1921:oscars.org
1849:References
1817:'s novel,
1738:Perry Como
1604:neorealism
1565:Nominated
1459:Nominated
1446:Nominated
1398:Nominated
1084:Jean Aurel
1082:magazine,
877:leitmotifs
867:kit violin
788:Elia Kazan
626:Bagnoregio
495:autostrada
426:Background
421:Production
398:as Zampanò
350:snare drum
260:drama film
210:1954-09-22
195:1954-09-06
160:Production
8427:Paparazzi
8121:Il bidone
8113:La Strada
7925:1988–1994
7888:Le Amiche
7880:La Strada
7816:1953–1957
7294:1978–2000
7017:Mayerling
7008:1937–1977
6901:Rogue One
6525:Two Women
6493:La Strada
6378:Nostalgia
6317:A Ciambra
6167:Pinocchio
6148:2001–2020
5935:1981–2000
5734:1961–1980
5682:La Strada
5652:Shoeshine
5643:1947–1960
5205:Character
5135:Indochine
4901:1976–2000
4747:Ján Kadár
4616:La Strada
4606:1956–1975
4488:Shoeshine
4476:1947–1955
4429:La Strada
4408:La strada
4397:La Strada
4386:La Strada
4375:La Strada
4364:La Strada
4254:La Strada
3225:6 October
2901:6 October
2689:6 October
2591:6 October
2459:3 October
2309:La Strada
2117:Fellini,
2000:6 October
1806:and meet
1788:La Strada
1773:La Strada
1750:La Strada
1742:La Strada
1715:Bob Dylan
1708:La Strada
1640:La Strada
1633:La Strada
1631:in 1957,
1613:La Strada
1608:La Strada
1580:La Strada
1352:Category
1341:La Strada
1311:La Strada
1296:La Strada
1290:polls of
1239:La Strada
1234:(1974)".
1214:La Strada
1210:La Strada
1193:La Strada
1189:La Strada
1182:La Strada
1151:La Strada
1134:The Times
1090:Le Figaro
1059:La Strada
1002:La Strada
958:La Strada
940:Reception
892:Larghetto
884:La Strada
872:La Strada
863:Nino Rota
859:La Strada
847:art-house
843:La Strada
834:La Strada
823:La Strada
795:actors."
777:Italian.
766:Fiumicino
695:La Strada
691:La Strada
681:, a 1954
658:Paramount
521:La Strada
461:La Strada
361:high wire
334:strongman
299:La Strada
287:La Strada
251:La strada
153:Nino Rota
139:Edited by
42:La strada
8217:Casanova
8209:Amarcord
7724:Parasite
7714:Cold War
7684:Timbuktu
7182:My Uncle
7172:Gervaise
7162:The Road
6933:Parasite
6685:Die Hard
6485:Gervaise
6347:Notturno
6227:Gomorrah
6076:Lamerica
5984:Macaroni
5863:Amarcord
5743:La Notte
5524:Parasite
4981:Mephisto
4872:Amarcord
4644:My Uncle
4544:Rashomon
4380:AllMovie
3640:NY Times
3259:Murray,
3203:: 23–24.
3186:Newsweek
2816:Allmusic
1974:11 March
1948:Archived
1827:See also
1786:adapted
1761:Broadway
1746:Don Raye
1706:credits
1511:, Japan
1284:'s 2012
1231:Amarcord
1222:(1960),
1140:Newsweek
1057:thought
813:Rashomon
642:L'Aquila
638:Ovindoli
499:carretta
256:The Road
240:Language
149:Music by
109:Starring
85:Story by
8415:Related
8324:L'Amore
8015:Il toro
7734:Bacurau
7493:Ponette
7102:L'Amore
7037:Harvest
6877:Gravity
6749:Titanic
6653:Witness
5695:(1957)
5665:(1949)
5655:(1947)
5252:Ang Lee
4415:at the
4389:at the
4111:Fellini
4097:Fellini
3682:3847261
3619:3 April
3556:America
3441:27 July
3027:2929116
2802:1211629
2201:AnOther
2157:TCM.com
1757:musical
1725:" and "
1680:Ann Hui
1358:Result
1198:Critic
1155:De Sica
1149:("With
894:" from
646:Abruzzo
630:Viterbo
620:Filming
527:Casting
354:trumpet
243:Italian
232:Country
208: (
193: (
162:company
8407:(1958)
8399:(1952)
8391:(1951)
8383:(1951)
8375:(1950)
8367:(1950)
8359:(1949)
8351:(1949)
8343:(1949)
8335:(1948)
8319:(1947)
8311:(1947)
8303:(1946)
8300:Paisan
8295:(1945)
8287:(1943)
8268:(1990)
8260:(1987)
8252:(1986)
8244:(1983)
8236:(1980)
8228:(1979)
8220:(1976)
8212:(1973)
8204:(1972)
8196:(1970)
8188:(1969)
8180:(1969)
8172:(1968)
8164:(1965)
8156:(1963)
8148:(1962)
8140:(1960)
8132:(1957)
8124:(1955)
8116:(1954)
8108:(1953)
8100:(1953)
8092:(1952)
8084:(1950)
8018:(1994)
7998:(1993)
7990:(1992)
7970:(1991)
7950:(1989)
7936:(1988)
7917:(1957)
7909:(1955)
7883:(1954)
7857:(1953)
7848:Ugetsu
7767:(2023)
7757:(2022)
7747:(2021)
7737:(2020)
7727:(2019)
7717:(2018)
7707:(2017)
7697:(2016)
7687:(2015)
7677:(2014)
7667:(2013)
7657:(2012)
7647:(2011)
7637:(2010)
7634:Carlos
7627:(2009)
7617:(2008)
7607:(2007)
7597:(2006)
7587:(2005)
7577:(2004)
7567:(2003)
7557:(2002)
7547:(2001)
7526:(2000)
7516:(1999)
7506:(1998)
7496:(1997)
7486:(1996)
7476:(1995)
7466:(1994)
7456:(1993)
7446:(1992)
7436:(1991)
7426:(1990)
7416:(1989)
7406:(1988)
7396:(1987)
7386:(1986)
7376:(1985)
7366:(1984)
7356:(1983)
7346:(1982)
7336:(1981)
7333:Pixote
7326:(1980)
7316:(1979)
7306:(1978)
7280:(1968)
7270:(1967)
7260:(1966)
7250:(1965)
7240:(1964)
7230:(1963)
7215:(1961)
7205:(1960)
7195:(1959)
7185:(1958)
7175:(1957)
7165:(1956)
7155:(1955)
7145:(1954)
7135:(1953)
7125:(1952)
7115:(1951)
7105:(1950)
7095:(1949)
7085:(1948)
7082:Paisan
7075:(1947)
7065:(1946)
7050:(1940)
7040:(1939)
7030:(1938)
7020:(1937)
6960:(2023)
6952:(2022)
6944:(2021)
6936:(2020)
6928:(2019)
6920:(2018)
6912:(2017)
6904:(2016)
6896:(2015)
6888:(2014)
6880:(2013)
6872:(2012)
6864:(2011)
6856:(2010)
6848:(2009)
6840:(2008)
6832:(2007)
6824:(2006)
6816:(2005)
6808:(2004)
6800:(2003)
6792:(2002)
6784:(2001)
6776:(2000)
6768:(1999)
6760:(1998)
6752:(1997)
6744:(1996)
6736:(1995)
6728:(1994)
6720:(1993)
6712:(1992)
6704:(1991)
6696:(1990)
6688:(1989)
6680:(1988)
6672:(1987)
6664:(1986)
6656:(1985)
6648:(1984)
6640:(1983)
6632:(1982)
6624:(1981)
6616:(1980)
6608:(1979)
6600:(1978)
6592:(1977)
6584:(1976)
6576:(1975)
6568:(1966)
6560:(1965)
6552:(1964)
6544:(1963)
6536:(1962)
6528:(1961)
6520:(1960)
6512:(1959)
6504:(1958)
6496:(1957)
6488:(1956)
6480:(1955)
6472:(1954)
6464:(1953)
6456:(1952)
6448:(1951)
6391:(2023)
6381:(2022)
6371:(2021)
6350:(2020)
6340:(2019)
6330:(2018)
6327:Dogman
6320:(2017)
6310:(2016)
6300:(2015)
6290:(2014)
6280:(2013)
6270:(2012)
6260:(2011)
6250:(2010)
6240:(2009)
6237:Baarìa
6230:(2008)
6220:(2007)
6210:(2006)
6200:(2005)
6190:(2004)
6180:(2003)
6170:(2002)
6160:(2001)
6139:(2000)
6129:(1999)
6119:(1998)
6109:(1997)
6099:(1996)
6089:(1995)
6079:(1994)
6069:(1993)
6059:(1992)
6049:(1991)
6039:(1990)
6029:(1989)
6019:(1988)
6009:(1987)
5999:(1986)
5987:(1985)
5977:(1984)
5967:(1983)
5957:(1982)
5947:(1981)
5926:(1980)
5916:(1979)
5906:(1978)
5896:(1977)
5886:(1976)
5876:(1975)
5866:(1974)
5856:(1972)
5846:(1971)
5836:(1970)
5826:(1969)
5816:(1968)
5806:(1967)
5796:(1966)
5786:(1965)
5776:(1964)
5766:(1963)
5756:(1962)
5746:(1961)
5725:(1960)
5715:(1959)
5705:(1958)
5685:(1956)
5675:(1950)
5577:2023:
5563:2022:
5549:2021:
5535:2020:
5521:2019:
5507:2018:
5493:2017:
5479:2016:
5465:2015:
5451:2014:
5437:2013:
5423:2012:
5409:2011:
5395:2010:
5381:2009:
5367:2008:
5353:2007:
5339:2006:
5328:Tsotsi
5325:2005:
5311:2004:
5297:2003:
5283:2002:
5269:2001:
5244:2000:
5230:1999:
5216:1998:
5202:1997:
5188:1996:
5174:1995:
5160:1994:
5146:1993:
5132:1992:
5118:1991:
5104:1990:
5090:1989:
5076:1988:
5062:1987:
5048:1986:
5034:1985:
5020:1984:
5006:1983:
4992:1982:
4978:1981:
4964:1980:
4950:1979:
4936:1978:
4922:1977:
4908:1976:
4883:1975:
4869:1974:
4855:1973:
4841:1972:
4827:1971:
4813:1970:
4799:1969:
4785:1968:
4771:1967:
4757:1966:
4749:&
4739:1965:
4725:1964:
4711:1963:
4697:1962:
4683:1961:
4669:1960:
4655:1959:
4641:1958:
4627:1957:
4613:1956:
4588:1955:
4574:1954:
4555:1952:
4541:1951:
4527:1950:
4513:1949:
4499:1948:
4485:1947:
4341:
4333:
4310:Cinema
4300:Cinema
4285:
4256:. In:
4220:
4206:
4189:
4179:(ed).
4162:
4148:
4134:
4117:
4103:
4086:
4029:
3980:
3898:24 May
3825:
3789:
3730:
3680:
3432:
3299:
3279:, 115.
3097:
3025:
2800:
2714:
2653:
2620:
2614:85–129
2530:
2378:
2307:IMDb,
2291:
2101:
2074:
2029:
1698:, and
1572:Legacy
1104:poetic
896:Dvořák
759:Attila
746:kabuki
712:double
699:Attila
678:Attila
662:rushes
650:Rimini
636:, and
469:Rimini
201:Venice
199: (
7836:Sadko
7654:Amour
7523:Yi Yi
6925:Joker
6741:Seven
6589:Rocky
6573:Lenny
5426:Amour
5191:Kolya
3951:. RCA
3678:JSTOR
3263:, 85.
3121:, 117
3023:JSTOR
2924:Genoa
2798:JSTOR
2526:–72.
2121:, 11.
1884:(PDF)
1374:Italy
1011:Senso
853:Music
772:Sound
634:Lazio
235:Italy
8201:Roma
7584:2046
5853:Roma
5722:Kapo
5634:for
5630:for
5510:Roma
4369:IMDb
4339:ISBN
4331:ISBN
4283:ISBN
4218:ISBN
4204:ISBN
4187:ISBN
4160:ISBN
4146:ISBN
4132:ISBN
4115:ISBN
4101:ISBN
4084:ISBN
4058:2022
4027:ISBN
4006:2013
3978:ISBN
3957:2013
3900:2022
3877:2013
3823:ISBN
3787:ISBN
3728:ISBN
3647:2011
3621:2023
3590:2023
3564:2013
3536:2013
3509:2021
3443:2012
3430:ISBN
3403:2013
3373:2013
3351:2013
3325:2022
3297:ISBN
3227:2013
3095:ISBN
3073:2017
2903:2013
2877:2013
2855:2013
2767:2013
2712:ISBN
2691:2013
2651:ISBN
2618:ISBN
2593:2013
2564:110.
2528:ISBN
2461:2013
2376:ISBN
2289:ISBN
2209:2013
2165:2013
2099:ISBN
2072:ISBN
2027:ISBN
2002:2013
1976:2021
1941:The
1928:2011
1891:2018
1717:and
1584:here
1552:Won
1536:Won
1520:Won
1503:Won
1492:Won
1475:Won
1430:Won
1414:Won
1392:and
1378:Won
1080:Arts
930:and
792:look
757:for
732:and
730:Totò
683:epic
591:and
564:and
543:and
384:Cast
352:and
346:foil
338:lire
328:Plot
270:and
7674:Ida
7373:Ran
6709:JFK
5454:Ida
4400:at
4378:at
4367:at
4270:. '
4126:.
4095:.
4078:.
3705:doi
3670:doi
3501:bbc
3015:doi
2790:doi
2647:195
2372:231
2023:160
1315:Art
1276:'s
1074:'s
1051:of
1008:'s
898:'s
810:'s
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320:'s
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8153:8½
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8006:/
7984:/
7978:/
7964:/
7958:/
7944:/
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7897:/
7891:/
7877:/
7871:/
7865:/
7851:/
7845:/
7839:/
7833:/
7827:/
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7227:8½
5763:8½
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