Nonton Film: 405 la strada 1954 Sub Indo
La Strada (1954)
Overview: When Gelsomina a naïve young woman is purchased from her impoverished mother by brutish circus strongman Zampanò to be his wife and partner she loyally endures her husband's coldness and abuse as they travel the Italian countryside performing together. Soon Zampanò must deal with his jealousy and conflicted feelings about Gelsomina when she finds a kindred spirit in Il Matto the carefree circus fool and contemplates leaving Zampanò.
Director: Federico Fellini
Cast: Giulietta Masina, Anthony Quinn, Richard Basehart, Aldo Silvani, Marcella Rovere
Original Language: IT
Original Title: La strada
Budget: N/A
Revenue: N/A
MPAA Rating: PG
Keywords: prison, dying and death, rage and hate, unsociability, circus, authority, in love with enemy, wave, sadness, road trip, single, revenge, black and white
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CinemaSerf (March 20, 2024)
Anthony Quinn is nigh on perfect for the "Zampanò" role here. He is a travelling strongman who buys "Gelsomina" (Giulietta Masina) from her mother for a pretty paltry sum and some food. She's none-too-pleased with her new, nomadic, life and he is not exactly the ideal companion. In fact, he's a bit of a thug! She's no shrinking violet, though, and after some failed attempts at escape, determines that this is her new life and that she is going to make the best of things. Might she even end up enjoying this life? Enter the nimble and agile tight-rope walker rather unkindly referred to as "The Fool" (Richard Basehart) whom she befriends, and he starts to open her eyes to another, hitherto unconsidered, possibility about the bullish "Zampanò" and the rationale behind his behaviour towards her. Fellini really does know how to let his stars shine here, and the photography - especially of the visually expressive and engaging Masina works really well with this simple but never straightforward drama. She presents us with a portrayal of a woman of character and as the plot thickens, the delivery of her relationship with the very much on-form Quinn becomes quite compelling to watch. Set amidst the debris of post-war Italy it also reminds us of just how society was struggling to get back onto it's feet, and to move on - even if the largely rural communities featured here had little, if any, prospects of seeing any improvements. The circus isn't a way to riches and comfort - it's rudimentary entertainment for a population that needs momentary distraction and it must travel continuously just to keep the proverbial wolf from it's door. That relentlessness provides us with the potent vehicle for an interesting character study that contrasts the strength and brutishness of one with the subtlety of the others and it looks great too.
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