Blog Directory CineVerse: The Little Tramp -- with a skirt

The Little Tramp -- with a skirt

Thursday, April 27, 2017

Giuletta Masina acquits herself quite nicely as an outstanding actress in "Nights of Cabiria." Of course, it helps getting direction from your husband, Federico Fellini, perhaps the greatest Italian director of all time. And borrowing physically expressive elements from Charles Chaplin's Little Tramp character doesn't hurt either, especially when playing a spirited young lady of the night with a diminutive stature but a large heart. Masina certainly does much of the heavy lifting in "Cabiria," but the film excels across many levels besides acting. CineVerse tapped into what makes this movie tick last evening and deduced the following:

Loneliness and isolation contrasted with the need for love and connection: Cabiria is an outcast even among fellow prostitutes; she seeks a loving bond with another human being, but keeps getting betrayed.
Childlike innocence: Cabiria maintains a youthful simplicity and gullibility about her, and her ability to rebound and smile shortly after a serious setback makes her seem like an innocent, resilient child
The quest for redemption, spiritual transcendence and acceptance: Cabiria is “baptized” in a sense by her near-drowning in the river, which sets her on an odyssey-like path toward personal discovery and the pursuit of an answer to the question, “what if I had died”?
The importance of self-reliance and looking inside for strength and wisdom: despite all that happens to her, the last shot we see of Cabiria is her smiling, which indicates that growth, maturity and strength has to come from within; she has faith that she’ll find her way on her own two feet.
Being “at home” with oneself, as symbolized in Cabiria’s house, which is isolated but which she loves.
Living two lives: a life at night when fantastical things happen, and a life in the daytime when the imperfect real world reigns.

It stands as one of the greatest pairings of husband and wife talents in cinema history: Guiletta Masina and her husband, director Fellini, collaborated on five films together; other successful spousal/lover pairs in movie history include D.W. Griffith and Lillian Gish, Ingmar Bergman and Liv Ullman, Woody Allen and Mia Farrow, and Zhang Yimou and Gong Li.
It’s a different kind of Italian neorealism film; like Umberto D, Cabiria struggles to maintain her dignity, yet the ending is not very neorealistic; instead, it’s almost surreal, introducing this band that comes out of nowhere to stir Cabiria out of her sadness. 
o Blogger Aldo Vidali wrote that this film contains neorealism characteristics: "It is Cabiria’s low social status that ensures her repeated disappointment, because the men in her life continually cast her aside in search of their own version of fulfillment. Therefore, Nights of Cabiria does examine social structures, but with an emphasis on their psychological effects. In doing so it uses Cabiria as an example of women’s yearning for commitment in a society that breeds a seemingly unshakable restlessness among men, who are rarely content with their relationships, or are blinded by their pursuit of wealth. Nevertheless, the film does not propose change or impose a moral, rather it attempts to show the mental condition of humanity through the struggles of women.” However, Vidali added, “(Fellini) discarded pragmatic realism in the pursuit of a metaphysical realism that penetrated far deeper into the human condition than the most “real” of traditional Neorealist motion pictures.”
The plot is episodic, seeming to string together vignettes of Cabiria’s experiences from day to day, night to night, and each of these short episodes can stand on their own as self-contained mini movies.
Cabiria is often framed in isolated shots separate from others; she’s also often placed behind gates or barriers, and she wears striped clothing—all of which suggest that she’s a “prisoner” of some kind who is prevented from achieving the happiness, love and connection she seeks.
The ending is ambiguous deliberately. Fellini believed his movies didn’t need “a final scene…my films give the audience a very exact responsibility. For instance, they must decide what Cabiria's end is going to be. Her fate is in the hands of each one of us. If the film has moved us, and troubled us, we must immediately begin to have new relationships with our neighbors. This must start the first time we meet our friends or our wife, since anyone may be a Cabiria."

His earlier films had characters and stories based more in reality; as his career progressed, especially after La Dolce Vita, he dabbled more in surreal, abstract and dreamlike themes and images, and Fellini “created” worlds
“The essential subject of Fellini’s films, particularly of the late ones, like Amarcord, is the cinema itself, another world, ephemeral, touching, ineffable, comic and grand” said Sam Rohdie in his Criterion Collection essay on Amarcord
He’s been called one of cinema’s most visually expressive filmmakers, an auteur who prefers to tell stories and relate information with images more than dialogue.
Fellini was fascinated with the strange, and grotesque, with misfits and with pageantry and fa├žade; he often includes scenes of circuses and clowns, as well as town fools and disturbed/insane people in his films.
He’s also one of the most autobiographical of film directors, often basing characters, shots and scenes on himself or something that he experienced or dreamed: 8 ½ is a great example: a film about a filmmaker who is at a loss as to what to make a film about.

Chaplin’s “Little Tramp” films like City Lights
Fellini’s La Strada (also starring Masina) and later La Dolce Vita, which also features, according to Ebert, prostitute characters, nightclub scenes with exotic dancers, fake Virgin Mary appearances, musical sequences that occur in outdoor nightclubs, among other things
Other neorealist films such as Miracle in Milan, Umberto D, and Shoeshine
Sweet Charity, a musical adaptation of this story (1969)

La Strada
La Dolce Vita
Juliette of the Spirits
Fellini Satyricon

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