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Juliet Of The Spirits – Criterion Collection Movie Streaming.
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Giulietta is a wealthy, mousy Roman housewife who lives on the margins of her occupy supposed milieu. Dominated by her resplendent, haughty mother (who can barely tolerate her) and her enormous and glamorous sisters, patronized by her rich ding-a-ling friends mostly because of her sympathetic nature (but secretly held in contempt by them for her lack of beauty), Giulietta hides instead in her perfect house with her servants–the only people she can really call her friends–and in her fantasies of her marriage to her jetsetting husband, who seems never to be around. As Giulietta comes to suspect what everyone else has known for years–that he is cheating in her–she simultaneously begins to be visited by spirits who seem to have something to order her. But as she learns more of her husband’s infidelities, and comes to query the emptiness of her believe life, Giulietta’s spirits seem less like valid supernatural presences and more like manifestations of a descent into madness.
This is by no means Fellini’s « best » film, but it is the one most people consider of when they employ the adjective « Felliniesque. » The fantasy sequences, the striking spend of color (particularly orange–this was his first color film, and he really went to town), the decadent Sixties fashions, and the shapely stauesque women who seem to have invaded from outer space: they’re all here, and many of the sequences in this film have been parodied again and again. Its imitations arrive for a noble reason: the film is utterly absolutely unforgettable. There are sequences in it that are as glowing or as memorable as anything Fellini has ever done–particularly the gargantuan lawn party sequence, where Giulietta finally breaks down.
There are many things rotten with the film: the script doesn’t invent a whole lot of sense at times, and the fantasy sequences seem less like something Giulietta would imagine and more like Fellini’s usual obsessions (statuesque women, the circus, etc.) . And as superbly chilly as Caterina Boratto is as Giulietta’s mother (« Nice kimono, » she sneers at her daughter at the lawn party), did he really have to cast actresses twice as sizable as his Giulietta to be her mother and sisters? (Even if we are to salvage that most of the movie is from her point of thought, it detached stretches thought.) What makes it all work so brilliantly in the extinguish, though, is the director’s sense of filmic memoir drive (beautifully orchestrated to Nino Rota’s well-known accumulate) and the performance of the lead actress, Giulietta Masina, who makes it all really matter. Although Masina has not been as praised for this role as grand as for her work in CABIRIA and LA STRADA, her work here is every bit as dazzling, and perhaps better for its greater subtlety. Gaze her expression the first time she sees one of her visions after she closes her eyes on the beach–or her fantastic range in the lawn party sequence as she segues from forced cheerfulness to grunt helplessness to rage, and then finally to despair. (When she finally loses it at her guests and screams at them, it’s hard to say what is more memorable: her moment of fury or her terrifyingly lost expression when she realizes they haven’t even noticed) . Although you really should glance this on the vast shroud (and on as definite a print as possible), this is a film every student of film should peruse.
The film was generally panned when it was first released, and you can quiet watch why. It doesn’t live up to the standards Fellini location earlier with his early masterpieces « La Strada » and « Nights of Cabiria » or his later international hits « 8 1/2″ and « La Dolce Vita. » The visuals are almost hallucinatory, but the legend of a repressed middle-aged woman (played by the fantastic Mrs. Fellini, Giulietta Masina) coming to grips with her husband’s infidelity and her contain childhood demons is woefully underdeveloped and gives Masina very exiguous to do–other than rely on trademark twitches and uncommon costumes. Unruffled, some of the fantasies are mindboggling and incredibly creative. (Ever since I first saw this film, I’ve wanted to visit a treehouse like the one Juliet’s neighbor takes her to.) And I’m particularly fond of the hoards of faceless nuns forcing school-girl Juliet to act out the martyrdom of some saint on a grill–from which her eccentric grandfather rescues his « shrimp Bifsteak. » Sandra Milo is a vision and fantasy come-true as Suzi, one of the spirits who leads Juliet to eventually free herself. Some of the sixties touches gain for fun nostalgia now–like the twisting twins on the beach and Juliet’s family’s psychodelic couture. Regretfully the film never quite achieves its potential, but it’s detached well worth a glimpse. Any Fellini movie scored by the unbelievable Nino Rota is worth watching for the music alone. (A previous post claims this to be Giulietta Masina’s « swan song. » Nope…she later co-starred in Fellini’s disappointing « Ginger & Fred. ») Regarding the pre- »Criterion Collection » DVD release; it would have been nice to have a fuller restoration, and this film especially seems ripe for including lots of additional extras that aren’t there. I observe forward to the unique Criterion Collection release!
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