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La strada La strada

Federico Pacchioni Chapman University, pacchion@chapman.edu

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Recommended Citation Recommended Citation Pacchioni, Federico. "La strada." In Italian Cinema from the Silent Screen to the Digital Image. Ed. Joseph Luzzi. New York: Bloomsbury Academic, 2020. 323-328.

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1

[' SCREEN TO THE DIGITAL IMAGE

raphy yday in Postwar Italian Film versity Press, 2015. llan: Olivares, 2006. lisorgimento According to Gramsci or :: Innovation." In Making and Remaking tity around the Risorgimento. Ed. Albert xford: Berg, 2001. 277-96. ilo critico. Venice: Marsilio, 2002. .. " In Storia del cinema italiano, Volume mice: Marsilio, Edizioni di Bianco e

, London: BFI, 2003. ;,2008. n: UTET, 2003.

~aphy i. Italy: Excelsa Film. 1945. aly: ENIC. 1948. r: Universalia Film. 1948. [taly: Italia Film. 1954. :i-De Laurentiis Cinematografica. 1954. . Italy: Italnoleggio. 1969. aly: Alfa Cinematografica. 1971. :a Film. 1972. Rizzoli Film. 197 5. vigo Italia. 2007. f: Palomar. 2010.

20

La strada

Federico Pacchioni

Released in 1954, La strada was the third solo directorial work of Federico Fellini and followed the critical and commercial success of I vitelloni (1953). Together with the films that preceded La dolce vita (1960), La strada represented a more traditional narrative and sober visual style that contrasted with Fellini's later experimental work. It is also an important film for understanding Fellini's reputation and evolution as an auteur director, especially in the light of the debate that it triggered among the Italian and French critics of the time regarding the true "calling" of Italian neorealism. The idea for La strada (which literally means the "road" or "way," in reference to the lengthy journeys that the film's characters take) came from Fellini and his screenwriter Tullio Pinelli, both of whom had observed traveling artists making their way across the Italian Apennines.1 One of the recurring characteristics of Fellini's cinema was its focus on the forms of popular entertainment, a trait that is reflected in La strada's poignant and careful portrait of the unique world of nomadic street entertainers in Italy.

The film's plot centers around the story of Gelsomina, a poor young girl (played by a childlike Giulietta Masina), whose "services" are purchased by a traveling strongman named Zampano (Anthony Quinn), who basically makes Gelsomina his domestic and sexual servant as well as fellow performer. While Zampano treats Gelsomina as a half-wit and useless girl, she sincerely commits to their relationship and reveals a resilient and rare sensibility. Gelsomina's meeting with an acrobat known as 11 Matto (The Fool), who performs in an angel costume, is instrumental to her discovery of self-worth and acceptance of her role as Zampano's caretaker. However, because of the Fool's habit of vexing and antagonizing Zampano, who eventually kills him in a fight, an event that leads Gelsomina to lose her sanity and then be abandoned by Zampano. Years later, upon learning of Gelsomina's death,

324 ITALIAN CINEMA: FROM THE SILENT SCREEN TO THE DIGITAL IMAGE

Zampano is awakened for the first time to his humanity by overwhelming emotions of guilt and loneliness.

The allegorical and archetypical weight of the film is based on the Christlike figure of Gelsomina-portrayed with saintlike innocence, purity, and spontaneous spiritual perceptiveness-who undergoes her martyrdom at the hand of the beastly, thoughtless, and materialistic Zampano. The presence of the character of Gelsomina places the ~Im withi~ the ~rancisc~n cinematic lineage that Fellini had begun to explore m connection with certam humble minor characters in earlier films, who are all endowed with a peculiar kind of wisdom, such as Prate Ginepro and Giovanni il Semplice (from his collaboration with Roberto Rossellini in Francesco Giullare di Dio [The Flowers of St. Francis] in 1950) as well as Giudizio (from I vitelloni in 1953).2

The religious and mythical tone of La strada, which has been analyzed by a good deal of scholarship that often attempts to demonstrate how the film expanded the neorealist canon, actually has its direct roots _in the context of Christian literature and theater. 3 Pinelli, the main screenwriter of La strada, was an accomplished playwright in his own right and author of sev~ral plays focusing ·on such intimate themes as guilt and everyday rede~pt10n, often through · allegories. Pinelli wrote the first draft of the scnpt and brought much of his own creative world to the film-at times to the dismay of another one of Fellini's screenwriters, Ennio Flaiano, who criticized the film's "peculiar obscure atmospheres" and "the affectation of its characters," while insisting that "the too-beautiful fable may have come down to earth, and its symbolism may have melted into the plot."4 Even Fellini was not entirely in favor of the tragic tone and overt Christian symbolism at the base of La strada so he attempted to balance these extreme characteristics. 5 As a result, the fil~ serves as an example of Fellini's eclectic and pantheistic form of spirituality as well as his undying comedic vein. The director's _ef~o~ts to render the bitter tale more lighthearted can be evinced from the dimmished cruelty of Zampano's violence in comparison to the original script, as well as by Fellini's insertion of unscrjpted comic and lyrical scenes? su_ch as Gelsomina playfully imitating the shape of a tree, awkwardly fal_h~g ~nto a hole while arguing with Zampano, listening to the hum of electricity m the telephone pole, and playing with ants.

The spontaneous spiritual perceptiveness of Gelsomina often leads to a compelling use of the subjective shot, as we see in Gelsomin~'s encount~r with Osvaldo, the paralytic child relegated to a farmhouse attic. Osval~o. is a character with whom Gelsomina empathizes because of his eccentricity and vague mediumistic inclinations. .

The subjective shot is also employed with regard to the locales of La strada, in ways that invoke the tenets of symbolism rather than naturalism. For example, Fellini uses different sets to embody the emotional change in Gelsomina before and after the death of the Fool: he uses sunny and bucolic vistas at first, then shifts to wintry and desolate landscapes after the Fool's death.

LASTRA

The complex 'function of music dese as i~ ~s one of the secrets of its power£ Felhm employs music in order to co of Gelsomina and the transmission of sacrifice to Zampano. Nino Rota, Felli1 unforgettable and haunting melody for both simple joy and sorrowful longing. 1 ~ruth of Gelsomina 's story as it travels acr m legendary s_ig~ificance. The melody is Fool on the v10lm. Once Gelsomina ace ?f the Pebble," teaching her that even the m th~ uni:erse has its purpose and place, favo~ite pie~e, which she often plays on th who mforms Zampano of Gelsomina's de~ learned the tune while acting as caretaker t At the ~lose of the film, the melody evob suggestmg that Gelsomina's sacrifice has signification, moving fully to the realm of l

The spiritual orientation of the film a apparently troubled inner life was recei opinions. The Mostra del Cinema of Venice S~ppo~ters of Luchino Visconti's Senso (J Risorgimento appealing to such socialist ' appalle? by the jury's decision to deny an aw, Th.e uruversal and legendary qualities of the Anst~rco as being "outside of time," therefo of be~ng a return to prewar Fascist cinema: e Massimo Puccini published a public letter to II contemporaneo, accusing La strada of la, dangerously departing from the ethical pat] F~llini published a letter of reply in II cont with ~he help of his close collaborator, the 1

Ron?~· The reply explained that the film wa~ ambit~ons of neorealism, as it addressed socia at their essence and core. Fellini proposed th "personal and spiritual communication" bet man and woman in particular. Critics have m~thi~al quality of the film's characters. La st po~nt m n~~realist criticism, forcing critics strictly political understanding of the movem(

. ~he religious discourse of La strada an1

c~itics ~re intrinsically connected. As John ci~~mat1c auteur was unexpectedly made a cnt1cs of Cahiers du cinema-who yearned to

rT SCREEN TO THE DIGITAL IMAGE

me to his humanity by overwhelming

weight of the film is based on the :ayed with saintlike innocence, purity, n.ess-who undergoes her martyrdom. ess, and materialistic Zampano. The a places the film within the Franciscan n to explore in connection with certain 1s, who are all endowed with a peculiar ro and Giovanni il Semplice (from his ii in Francesco Giullare di Dio [The as Giudizio (from I vitelloni in 1953).2

La strada, which has been analyzed by attempts to demonstrate how the film lly has its direct roots in the context of lli, the main screenwriter of La strada, his own right and author of several

1es as guilt and everyday redemption, ote the first draft of the script and ,dd to the film-at times to the dismay :ers, Ennio Flaiano, who criticized the 'and "the affectation of its characters," 1 fable may have come down to earth, into the plot."4 Even Fellini was not

l overt Christian symbolism at the base 1ce these extreme characteristics.5 As a if Fellini's eclectic and pantheistic form comedic vein. The director's efforts to ed can be evinced from the diminished nparison to the original script, as well ed comic and lyrical scenes, such as :1pe of a tree, awkwardly falling into a stening to the hum of electricity in the

:iveness of Gelsomina often leads to a t, as we see in Gelsomina's encounter :gated to a farmhouse attic. Osvaldo is empathizes because of his eccentricity

with regard to the locales of La strada, in sm rather than naturalism. For example, e emotional change in Gelsomina before ~s sunny and bucolic vistas at first, then es after the Fool's death.

LA STRADA 325

The complex function of music deserves special attention in the film ' as it is one of the secrets of its powerful yet subtle religious inspiration.

Fellini employs music in order to convey the growing consciousness of Gelsomina and the transmission of the moral lesson inherent in her sacrifice to Zampano. Nino Rota, Fellini's faithful composer, crafted an unforgettable and haunting melody for La strada, which resonates with both simple joy and sorrowful longing. The melody embodies the spiritual truth of Gelsomina's story as it travels across different characters and grows in legendary significance. The melody is first heard when played by the Fool on the violin. Once Gelsomina accepts the angel-acrobat's "Parable of the Pebble," teaching her that even the smallest and most humble thing in the universe has its purpose and place, the melody becomes Gelsomina's favorite piece, which she often plays on the trumpet. Eventually, the woman who informs Zampano of Gelsomina's death sings the same melody, having learned the tune while acting as caretaker to Gelsomina during her last days. At the close of the film, the melody evolves into a symphonic movement, suggesting that Gelsomina's sacrifice has reached another, higher level of signification, moving fully to the realm of hagiography and allegory.

The spiritual orientation of the film and its emphasis on Gelsomina's apparently troubled inner life was received with drastically conflicting opinions. The Mostra del Cinema of Venice in 1954 was particularly heated. Supporters of Luchino Visconti's Senso (1954), an historical film on the Risorgimento appealing to such socialist critics as Guido Aristarco, were appalled by the jury's decision to deny an award to Senso in favor of La strada. The universal and legendary qualities of the Fellini's film were perceived by Aristarco as being "outside of time," therefore leading him to accuse the film of being a return to prewar Fascist cinema: escapist and unengaged.6 In 1955, Massimo Puccini published a public letter to Fellini in the left-wing magazine II contemporaneo, accusing La strada of lacking in social commitment and dangerously departing from the ethical path of neorealism. A month later, Fellini published a letter of reply in II contemporaneo, most likely written with the help of his close collaborator, the existential philosopher Brunello Rondi. The reply explained that the film was actually in line with the higher ambitions of neorealism, as it addressed social issues, though by tackling them at their essence and core. Fellini proposed that he was exploring the issue of "perso~al and spiritual communication" between individuals, and between man and woman in particular. Critics have since elaborated the basic and mythical quality of the film's characters. La strada certainly marked a turning point in neorealist criticism, forcing critics to uncover the limitation of a strictly political understanding of the movement.

The religious discourse of La strada and its success among auteurist critics are intrinsically connected. As John Hess noted, the idea of the cinematic auteur was unexpectedly made available to the young French critics of Cahiers du cinema-who yearned to become directors in their own

326 iTALIAN CINEMA: FROM THE SILENT SCREEN TO THE DIGITAL IMAGE

right-by the Christian-realist movement of the journal Esprit. And a major theorist of auteur cinema, Andre Bazin, was especially interested in art's capacity to reveal transcendent reality.7 La strada, whose release in 1954 coincided with the publication of Fran~ois Truffaut's influential article "A Certain Tendency in French Cinema" in Cahiers du cinema, became a model of film's capacity to capture inner life, turning Fellini into a prime example of film auteur and establishing his work as a major influence on the French New Wave. The attention received by La strada in Europe was finally sealed by the American Academy of Motion Picture Arts, which awarded it the Oscar for Best Foreign Language Film in 1955.

Some of the narrative and stylistic elements touched on in this chapter (Christian allegory, subjective shot, and musical motifs) had certainly encouraged Bazin to employ such notions as "neorealism of the person" or "phenomenological realism" in order to describe La strada and the film's ability to expose the soul of its characters. Bazin's 1955 article in Esprit demonstrates that he quickly understood that the subjective depth of the film was not merely psychological but also spiritual. 8 Because of their unabashed interest in messages worthy of comparison with classic authors of literature, the French critics were quicker to celebrate the importance of La strada than the Italians were. With its seamless capacity to elevate realism to an allegorical level, the film was considered a masterpiece in the eyes of those who were calling for an art capable of reinterpreting Christian values as well as rejuvenating the Italian and European spirit in the aftermath of the war.

A director influenced by Fellini, Pier Paolo Pasolini, once identified a genealogical line between Roberto Rossellini and Fellini, celebrating the transmission of a mystical stance that was to him the chief force behind the creation of a new level of lyrical dynamism in Italian cinematography. Pasolini explained how the representation of the world of Rossellini and Fellini is "transfigured by an excess of love for their reality," a state that leads them to film with an obsessive intensity where "even the air is photographed."9

Neorealism has traditionally been seen as a primarily political movement; but the sublime rhetoric of religion is actually at the heart of its cinematic language. In this sense, La strada, which could be catalogued both as a representative of modern Christian art and postwar cinema, still has important lessons to teach film historians about the role of religious discourse in neorealism.

Notes 1 See Fellini, Fare un film, 58-60; and Zambelli and Acone, Campane nel pozzo, 43. 2 For an earlier analysis of the Franciscan threads within the film, see Aubier,

"Mythologie de La Strada."

LAS'

3 See, for example: Pecori, Federico Fe!, Fellini; and Marcus, "Fellini's Lastra,

4 Flaiano, "Ho parlato male de 'La stra, S For more information on the genesis c

21-48. 6 Aristarco, "La strada." 7 Hess, "Auteurism and After," 29. 8 Bazin, "La strada," 54-59. 9 Pasolini, "Nota su 'Le notti,"' 702-70

Biblio Aristarco, Guido. "La strada." Cinema ni

Aubier, Dominique. "Mythologie de La S 3-9.

Bazin, Andre. "La strada." In Federico Fe, Bondanella. Oxford: Oxford Universi1 23.226 (May 1955): 847-51.

Bondanella, Peter. The Cinema of Federic Press, 1992.

Fellini, Federico. "Letter to a Marxist Cri and Manuela Gieri, Trans. Isabel Qui! Press, 1987. 211-14. Originally in II c

Fellini, Federico. Fare un film. Turin: Eim Flaiano, Ennio. "Ho parlato male de 'La i

449. Hess, John. "Auteurism and After: A Rep

(1973): 28-37. Marcus, Millicent. "Fellini's La strada: 1

in the Light of N eorealism. Princetor 144-63.

Pacchioni, Federico. Inspiring Fellini: Liti Toronto: University of Toronto Press,

Pasolini, Pier Paolo. Per il cinema. Ed. Wa Mondadori, 2001.

Pecori, Franco. Federico Fellini. Florence: Puccini, Massimo. "Lettera aperta a Fedei

(March 19, 1955). Truffaut, Fram;ois. "A Certain Tendency i

Critical Landmarks. Ed. Peter Grahan: 2009. 39-63. Originally in Cahiers du

Zambelli, Massimo and Giuseppe Acone, luna; II testamento spirituale di Federi

:NT SCREEN TO THE DIGITAL IMAGE

ment of the journal Esprit. And a major azin, was especially interested in art's ity.7 La strada, whose release in 1954 ran~ois Truffaut's influential article "A ' in Cahiers du cinema, became a model :e, turning Fellini into a prime example 'Ork as a major influence on the French v La strada in Europe was finally sealed on Picture Arts, which awarded it the min 1955. ic elements touched on in this chapter t, and musical motifs) had certainly )tions as "neorealism of the person" or er to describe La strada and the film's uacters. Bazin's 1955 article in Esprit :ood that the subjective depth of the film o spiritual. 8 Because of their unabashed arison with classic authors of literature, celebrate the importance of La strada mless capacity to elevate realism to an lered a masterpiece in the eyes of those ,f reinterpreting Christian values as well pean spirit in the aftermath of the war. Pier Paolo Pasolini, once identified a Rossellini and Fellini, celebrating the

Lt was to him the chief force behind the mism in Italian cinematography. Pasolini f the world of Rossellini and Fellini is or their reality," a state that leads them where "even the air is photographed."9

:n as a primarily political movement; but ally at the heart of its cinematic language. be catalogued both as a representative of 1ema, still has important lessons to teach ious discourse in neorealism.

otes :ambelli and Acone, Campane nel pozzo, 43. ::an threads within the film, see Aubier,

LA STRADA 327

3 See, for example: Pecori, Federico Fellini; Bondanella, The Cinema of Federico Fellini; and Marcus, "Fellini's La strada."

4 Flaiano, "Ho parlato male de 'La strada."' 5 For more information on the genesis of La strada, see my Inspiring Fellini,

21-48. 6 Aristarco, "La strada." 7 Hess, "Auteurism and After," 29. 8 Bazin, "La strada," 54-59. 9 Pasolini, "Nota su 'Le notti,"' 702-704.

Bibliography Aristarco, Guido. "La strada." Cinema nuovo 3.46 (November 10, 1954). Aubier, Dominique. "Mythologie de La Strada." Cahiers du cinema 49 (July 1955):

3-9. Bazin, Andre. "La strada." In Federico Fellini: Essays in Criticism. Ed. Peter

Bondanella. Oxford: Oxford University Press, 1978. 54-59. Originally in Esprit 23.226 (May 1955): 847-51.

Bondanella, Peter. The Cinema of Federico Fellini. Princeton: Princeton University Press, 1992.

Fellini, Federico. "Letter to a Marxist Critic." In La strada. Ed. Peter Bondanella and Manuela Gieri, Trans. Isabel Quigly. New Brunswick: Rutgers University Press, 1987. 211-14. Originally in Il contemporaneo 2.15 (April 9, 1955).

Fellini, Federico. Fare un film. Turin: Einaudi, 1993. Flaiano, Ennio. "Ho parlato male de 'La strada."' Cinema 139 (August 10, 1954):

449. Hess, John. "Auteurism and After: A Reply to Graham Petrie" Film Quarterly 27.2

(1973): 28-37. Marcus, Millicent. "Fellini's La strada: Transcending Neorealism." Italian Film

in the Light of Neorealism. Princeton: Princeton University Press, 1986. 144-63.

Pacchioni, Federico. Inspiring Fellini: Literary Collaborations Behind the Scenes. Toronto: University of Toronto Press, 2014.

Pasolini, Pier Paolo. Per ii cinema. Ed. Walter Siti and Franco Zabagli. Milan: Mondadori, 2001.

Pecori, Franco. Federico Fellini. Florence: La Nuova Italia. 1974. Puccini, Massimo. "Lettera aperta a Federico Fellini." Il contemporaneo 2.12

(March 19, 1955). Truffaut, Fran4rois. "A Certain Tendency in French Cinema." In The New Wave:

Critical Landmarks. Ed. Peter Graham and Ginette Vincendeau. London: BFI, 2009. 39-63. Originally in Cahiers du cinema 6.31 (1954 ): 15-29.

Zambelli, Massimo and Giuseppe Acone, eds. Campane nel pozzo: La voce della luna; Il testamento spirituale di Federico Fellini. Rimini: 11 Cerchio, 1997.

328 ITALIAN CINEMA: FROM THE SILENT SCREEN TO THE DIGITAL IMAGE

Filmography Francesco, giullare di Dia, Dir. Roberto Rossellini. Italy: Cineriz. 1950. La dolce vita, Dir. Federico Fellini, Italy. Riama Film. 1960. La strada, Dir. Federico Fellini. Italy: Ponti-De Laurentiis. 1954. Senso, Dir. Luchino Visconti. Italy: Lux Filqi. 1954. I vitelloni, Dir. Federico Fellini. Italy: Cite Films. 1953.

( I.

L'a"'

JohnDa,

In L'avventura (1960), Antonioni spectators are given too little and are attending to the film's details, are looking at the wrong details, , In other words, the film stages a too little, or too much? Moreove~ what? Presumably the sensation o recognizably productive mode of s1 hostile spectators at Cannes, many the film blooms gorgeously in blac the film expends in such abundarn events that act as the pretext for tl main characters, Sandro ( Gabriele I Monica Vitti) seem to forget, or else meant to be doing in the precious h< Anna (Lea Massari). By forgetting a could ever have been found-Sandr create closet dramas of temporal d pointless trip up a campanile ( churc in front of a mirror.

Time is brought into the rhyth 1

sensations, and thus time is enlar happens as a result of anything that is long, and despite the portentousr Sandro, and a consoling woman, C Etna-the ending itself feels conting,