One
of the acknowledged classics of cinema, Fredrico Fellini's
1954 film La Strada stars Anthony Quinn, and Fellini's wife,
Giulietta Masina. Fellini became famous with this picture,
later moving on to more complex, extravagant and self-indulgent
films like 8 1/2, La Dolce Vita, and Juliet of the Spirits,
but this is by far his most simple film, possibly his best.
The
story involves Zampano (Quinn), a narrow, macho guy who is
a travelling entertainer. His gimmick consists of snapping
a metal chain wrapped around him with his chest muscles. He
tries to make the spectacle more astounding than it really
deserves to by warning sensitive viewers to look away in case
there's blood, and also at one point by telling an anecdote
about someone who burst his optic nerves attempting the trick.
The
film begins with Zampano agreeing to take a simple-minded
girl, Gelsomina (Masina) as an assistant. She has simple dreams
of being, as she puts it, an "artist". The relationship between
the two is very rocky. Zampano exhibits a dictatorial approach
to training her, going so far as to swat her with a stick
whenever she plays her notes wrong on the trumpet. Another
distressing moment occurs when the two go out into a bar,
and Zampano flirts with a busty red-headed woman. He takes
the woman with him, leaving Gelsomina on the sidewalk for
the entire evening. The next morning, she is still waiting
for him.
Later
on, they meet a character known only as The Fool, a tightrope
performer. The Fool exhibits a more light-hearted approach
to life; the opposite to Zampano. For one, he is far gentler
to Gelsomina. Also, The Fool makes fun of Zampano's dumb tricks,
including distracting him during a performance. It is during
this time when a viewer truly understands the eventual tragedy
of Zampano. Clearly, he's insanely jealous of the attention
The Fool is giving Gelsomina, never once by his words, but
rather his violent actions. The fallout from his final outburst
is when the viewer gets a glimpse of his true loneliness.
The
movie is simple yet perceptive in its portrayal of a pathetic
character and the woman who forces him to have at least a
scant realization of his own tragic nature. Only as the movie
ends does Zampano get in touch with any emotions other than
the brutish sort. Gelsomina, while child-like, is able to
reveal an openness and a patience for life in general, and
specifically for this seemingly unworthy individual. However,
many viewers might rightfully accuse Gelsomina of allowing
herself to be a victim, and Fellini of portraying her as an
exceptional woman for accepting his nasty flaws. This is even
further complicated when The Fool reassures her that all people,
including her, have a purpose in the world. So apparently
that means Gelsomina's purpose is to care for Zampano. Wouldn't
a reasonable woman just tell Zampano to piss off and then
go back home and find a better purpose in life?
La
Strada's simplicity and the peculiarity of its characters
allows the film a believable glimpse of human nature, which
is something the best artists clearly strive to do. Fellini
has given ample evidence that he is one of those artists.
David
Macdonald
David
Macdonald's Movie Reviews
|