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starring Giulietta Masina
|
(Giulietta
degli Spiriti, 1965) As a back-shot and silhouetted Giuletta
Masina, after flipping through wigs and checking the decor
for her candlelit anniversary dinner, finally emerges into
well-lit closeup (a star entrance as part of Fellini's
gift to wife Masina, then at a rocky passage in their marriage
and her career), abashed hubby Mario Pisu brings in the raffish
- what else? - guests he's invited: medium Friedrich Ledebur
leads a shadowy, table-rapping séance; indeterminately
sexed "Indian" seer (German dance legend Valeska Gert in
her first film since 1931's Threepenny Opera) dispenses
sibylline advice; a smiling, clerically-disguised detective
gives Masina the bad news about her husband via the latest
in high tech; and voluptuous neighbor Sandra Milo shoots
the chute into her bordello-inspired mansion's pool in her
birthday suit. A phantasmagoria of dreams, spirits, and memories
(including Masina's childhood star turn as an incinerated
martyr), Juliet is in a sense Fellini's distaff 8 1/2, and
was viewed even at the time as a metaphor for his own marriage
(although he called it "the least biographical of my films
- my wife just happens to be in it"), with the production
featuring on-set battles because Fellini wanted Masina "to
play herself" (the final homage to Cabiria's famous smile
called for multiple takes) and a decisive split with longtime
co-scripter Ennio Flaiano over the price of an airline ticket.
Dazzlingly shot by the great Gianni di Venanzo in hues ranging
from delicate pastels to garish primaries, this was Fellini's
first color work, and he used it to full effect to make what
he called "a fantasy that is developed through colored illuminations."
Seen for decades only in faded and battered prints, this
new 35mm restoration returned to the original camera negative
to bring back the most dazzling of the Maestro's dreams.
"Could lay claim to being Fellini's best." - Georges Sadoul.A Rialto Pictures Release. Special thanks to Janus Films.
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