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Juliet of the Spirits
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Directed by Federico Fellini.
Juliet of the Spirits is a fantastical showcase for Federico Fellini's vibrant imagery, starring his wife, Giulietta Masina, as the titular leading character. Juliet is a wealthy housewife who constantly fears her husband, Giorgio (Mario Pisu), is cheating on her. While she yearns for a peaceful intimate evening on the night of their 15th anniversary, the egotistical Giorgio has forgotten about it and instead arrives home with his eccentric friends. After a trip to a séance, Juliet is haunted by images from the spirit world, including obsessions from her past involving religion and her late relatives. With her sisters and mother prying into her life, Juliet seems to be seeking an inner peace amidst all the sexual temptations surrounding her. She meets her neighbor, Suzy (Sandra Milo), a showy pleasure-seeker who lives in a sensual playhouse. It appears that all of Juliet's family, friends, and fantasies demand that she loosen up and embrace sexual freedom, yet she remains chaste and dowdy, lamenting over her unfaithful husband. The reasons for Juliet's repression are not clearly defined by the narrative, despite glimpses into her supposed imagination. Forced to endure the constant bombardment of sexually charged imaginings, the demure Juliet retreats on her own. ~ Andrea LeVasseur, All Movie Guide
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CinemaRianCinemaRian Juliet of the Spirits (1965, It ...
by CinemaRian in CinemaRian Blog
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"Juliet of the Spirits is a misfire from a great director. It features some extraordinary sequences and magnificent photography, but in the end, it doesn't add up to anything. The obsensive premise is a sort of quest for meaning, or connection, or something, by Giulietta Boldrini (played by Giulietta Masina, Fellini's wife). The movie alternates between realitivley realistic scenes (by Fellini standards), and surreal sequences meant to show Giulietta's mental state. I think. The film is a sort of cross between Nights of Cabiria and 8 1/2 with the unrelated episodes of the former and the inner mindscapes of the latter. The biggest problem with Juliet of the Spirits is that Fellini tries to have it both ways- he wants to make both a film about a woman becoming indepenant (I think) and an absurdist fantasy. The problem is that Giulietta is never developed enough as a character for us to care about her very much. The psycholgical stuff in the picture is really unfocused. However, ... " [More]
alexcharneralexcharner Re: Top 5 Character Introductions
by alexcharner in Filmspotting
hasn't rated it.
"I love that entrance. Great choice, Paul.I also love Giulietta Massina's entrance in Juliet of the Spirits http://www.spout.com/f ilms/18423/default.aspx. She's shot from many angles, but Fellini consciously holds your intrigue for some time before you see her face. " [More]
quintquint Great poster at Wolfgang's vault
by quint in An inordinate number of peppers
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"Wolfgang's vault has a number of movie posters from the sixties for sale here. expensive, but cool to look at. " [More]
Review by All Movie Guide
All Movie Guide
liked it.
The first Fellini film in color, Juliet of the Spirits is one of the director's lesser-known works and one with enigmatic meanings. Intending to reveal the fantasies and inner world of Juliet (played by Fellini's wife, Giulietta Masina), the fantastic events still seem to be streaming from Fellini himself. Memorable moments -- like the seaside parade and a bed with a slide into a pool -- show the director indulging in his gift for painting bizarre images. However, the story suffers compared to the vivid appeal of the visual spectacle. Masina's talents are almost mocked as she seems uncomfortably placed in the realm of her husband's fantasies while playing a wronged wife. The parallel relationship of the fictional Juliet and Giorgio with Masina and Fellini is further complicated by the presence of the flamboyant Suzy (Sandra Milo), who appeared in 8 1/2 as the mistress. Apparently, the husband and wife fought on the set, and it is debatable as to what the ending scene means, where Juliet walks off into the distance. For Fellini, she is embracing her freedom; for Masina, she was descending into loneliness. Not the best picture from either, Fellini's La Strada and Nights of Cabiria make far better use of Masina's sweet and charming comic talents. ~ Andrea LeVasseur, All Movie Guide
 



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