La Strada - Knowledge

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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. 718: 841:

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

1177: 532: 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. 49: 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, 431: 290:

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

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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." 829:

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. 343:

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

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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

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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 1043:

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."

6991: 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 980:

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. 5627: 664:

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?"

1832: 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 6977: 992:

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 882:

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

5618: 616:, and agreed to take the role for much less than his usual salary, in part because he was very attracted by Fellini's personality, saying: "It was his zest for living, and his humor." 4459: 7000: 6423: 1775:

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". 1298:

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 336:

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." 8518: 1018:

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

6409: 3860: 1964: 3338: 1947: 1321:, has said it is "the movie that perhaps I loved the most," because of his personal identification with its implicit reference to his namesake, 836:

was identical to the original Italian version, but the audio track was completely re-edited under the supervision of Carol and Peter Riethof at

904:) with rhythmic lines matched to Corelli's piece that synchronize with Gelsomina's movements with the trumpet and Il Matto's with the violin. 8538: 1075: 1628: 1368: 1343:

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 497:

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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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 890:

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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Perugia: Guerra Edizioni, lingua italiana per stranieri, Collana: Quaderni di cinema italiano per stranieri, p. 32.

8563: 8452: 5346: 4966: 1269: 17: 2196: 8558: 7841: 6700: 6548: 5953: 1823:(2000), as an old man who wrote film critique while the protagonist's mother is named Pelafina, after Gelsomina. 1144: 570:, was eager to take the role, and was bitterly disappointed when Fellini rejected him after a tryout in costume. 8553: 8048: 5752: 5355: 5246: 4118: 5772: 4727: 4685: 6868: 3579:"From Stanley Kubrick to Martin Scorsese: Akira Kurosawa once named his top 100 favourite films of all time" 1066:

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

825:, there are even instances when a character is heard to speak while the actor's mouth is shut tight. 4437: 2449: 1880: 790:: "He talked through each take, in fact yelled at the actors. 'No, there, stop, turn, look at her, 8331: 7913: 7829: 7342: 7312: 6916: 6756: 6516: 6508: 6125: 6105: 6065: 5812: 5481: 5383: 4994: 4910: 535:

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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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: 1675: 1268:) was voted at No. 85 on the list of the "Top 100 Essential Films of All Time" by the 8403: 8323: 8184: 8128: 7986: 7861: 7763: 7653: 7482: 7322: 7236: 7101: 6999: 6948: 6924: 6860: 6828: 6764: 6740: 6612: 6564: 6468: 6256: 6216: 6176: 6156: 6135: 6115: 6035: 5822: 5691: 5556: 5542: 5495: 5472: 5425: 5397: 5360: 5285: 5218: 5176: 4985: 4792: 4759: 4704: 4671: 4629: 4562: 4534: 4368: 4338: 4330: 4282: 4217: 4203: 4186: 4159: 4145: 4131: 4114: 4100: 4083: 4026: 3977: 3926: 3822: 3786: 3727: 3708: 3429: 3418: 3296: 3258: 3094: 2711: 2650: 2617: 2527: 2375: 2288: 2098: 2071: 2026: 1842: 1783: 1695: 1651: 1322: 1264: 1015: 887: 584: 360: 345: 5514: 5139: 2846: 739:

Fellini was a notorious perfectionist, and this could be trying for his cast. At an

714:, a high-wire artist who refused to perform when firemen arrived with a safety net. 467:

The idea for the character Zampanò came from Fellini's youth in the coastal town of

8421: 8200: 8144: 8064: 7980: 7392: 7111: 7071: 6796: 6452: 6276: 5912: 5852: 5721: 5651: 5509: 5444: 5439: 5204: 5167: 5162: 5134: 4971: 4876: 4834: 4778: 4732: 4718: 4634: 4620: 4520: 4501: 4492: 4487: 4412: 4176: 4123: 3704: 3669: 3364: 3014: 2789: 1993: 1764: 1760: 1730: 1703: 1659: 1624: 1454: 1286: 1204: 1154: 1127: 1048: 1005: 686: 472: 401: 389: 275: 263: 120: 112: 62: 6236: 5276: 4929: 8291: 8248: 8088: 7960: 7593: 7171: 7131: 7121: 7091: 7061: 6836: 6692: 6676: 6604: 6484: 6460: 6346: 6296: 6266: 6226: 6025: 5983: 5661: 5584: 5223: 5195: 5153: 5106: 5092: 5055: 5022: 4595: 4557: 4515: 4401: 4020: 3971: 3816: 3780: 3612: 2705: 2282: 2092: 2065: 1951: 1819: 1302: 1242: 967: 921: 669: 603: 548: 515: 444: 130: 3550: 3394: 2639: 2364: 1838:

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. 8080: 8033: 7422: 7412: 6940: 6908: 6788: 5902: 5882: 5631: 5486: 5430: 5416: 5313: 5181: 5013: 4943: 4890: 4764: 4746: 4690: 4676: 4548: 4506: 2668: 2666: 1916: 1803: 1691: 1683: 1655: 1389: 1329: 1254: 1159: 807: 803: 717: 703: 608: 592: 580: 552: 476: 267: 74: 4848: 4046: 3890: 1671: 1094: 799: 786:

during filming, a practice that scandalized more traditional filmmakers, like

710:

supplied a number of stuntmen who could play themselves, including Basehart's

8472: 8379: 8232: 8136: 7893: 7873: 7432: 7211: 7191: 5892: 5802: 5570: 5537: 5290: 5209: 5111: 5027: 4801: 4657: 4395: 4384: 4295: 4195: 4075: 3316: 1833:

List of submissions to the 29th Academy Awards for Best Foreign Language Film

1687: 1647: 1593: 1393: 1218: 1040: 983: 837: 778: 557: 506: 493:, and Tullio had gone to see his family in Turin. At that time, there was no 480: 395: 279: 271: 116: 78: 2663: 8371: 8347: 7994: 7974: 7835: 7693: 7643: 7623: 6724: 6572: 6045: 5995: 5528: 5411: 5402: 5304: 5190: 5120: 5083: 5069: 4806: 4662: 4648: 4267: 3118: 1799: 1768: 1643: 1508: 1403: 1318: 1273: 1237:

The years since its initial release have solidified the high estimation of

1176: 1010: 817: 816:, and was able to secure Foà's services at the very last moment. Composer 733: 711: 602:

Fellini was particularly taken with Basehart, who reminded the director of

510: 407: 337: 301:

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 8096: 7853: 7583: 6844: 6580: 6387: 6306: 5467: 5041: 4924: 1807: 1557: 1487: 1199: 932: 926: 917: 895: 566: 544: 489: 449: 142: 102: 4373: 4362: 3240:

Bluestone, George (October 1957). "An Interview with Federico Fellini".

531: 8256: 7673: 7472: 7372: 7151: 6852: 6708: 6636: 6206: 5453: 5332: 4820: 4750: 4421: 3681: 3026: 3009:

Swados, Harvey (1956). "La Strada: Realism and the Cinema of Poverty".

2801: 1737: 1083: 866: 787: 625: 349: 3456: 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 ( 8426: 8120: 7887: 7753: 7181: 6900: 6524: 6316: 4643: 4467: 3420:

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

1714: 1133: 1089: 891: 876: 862: 765: 682: 152: 4315:

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 8208: 8192: 6684: 6075: 5862: 5742: 4871: 4543: 4379: 3660:

Young, Vernon (Autumn 1956). "La Strada: Cinematic Intersections".

2815: 1745: 1245:

from 78 reviewers who, on average, scored it 8.9 on a scale of 10.

1230: 1139: 846: 812: 761:

that Francisci, the director of record, had neglected to complete.

637: 448:

and most of her other films, she was always playing Gelsomina." --

8014: 7733: 7492: 7001:

New York Film Critics Circle Award for Best Foreign Language Film

5251: 1679: 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

8299: 7847: 7502: 7332: 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: 8042: 7800: 7786: 6992: 6978: 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 3379: 3357: 3331: 3309: 3284: 3268: 3252: 3233: 3207: 3192: 3177: 3162: 3143: 3124: 3107: 3048: 3033: 2993: 2981: 2969: 2960: 2951: 2942: 2929: 2861: 2838: 2829: 2808: 2746: 2697: 2630: 2576: 2567: 2558: 2549: 2540: 2485: 2476: 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:. 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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: 2600: 2590: 2588: 2581: 2577: 2572: 2568: 2563: 2559: 2554: 2550: 2545: 2541: 2534: 2512: 2495: 2490: 2486: 2481: 2477: 2472: 2468: 2458: 2456: 2446: 2442: 2437: 2433: 2428: 2415: 2410: 2403: 2398: 2389: 2382: 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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: 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6657: 6649: 6641: 6633: 6625: 6617: 6609: 6601: 6593: 6585: 6577: 6569: 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: 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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: 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