fragt ironisch zweifelnd der Schauspieler Richard Basehart in einer Schlüsselszene des Films "La Strada" seine Partnerin, deren zierlicher Körper unter einem. Mit diesem märchenhaft-poetischen Film gelang Federico Fellini der internationale Durchbruch und machte zugleich Giulietta Masina als naiv-sinnliche Träumerin. La Strada – Das Lied der Straße ist ein Melodram des Regisseurs Federico Fellini. Mit seinem vierten Film begründete er seinen internationalen Ruhm, machte.
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Die sanftmütige Gelsomina wird von ihren Eltern an den Schausteller Zampano verkauft. Sie soll ihm assistieren. Aber je mehr sie sich aufopfert, desto mehr ignoriert Zampano sie. Bei einem Zirkus-Engagement lernt Gelsomina Matto kennen und erst. La Strada – Das Lied der Straße (Originaltitel: La strada) ist ein Melodram des Regisseurs Federico Fellini. Mit seinem vierten Film begründete er seinen. diefreilerner.eu - Kaufen Sie La strada günstig ein. Qualifizierte Bestellungen und Aktionen. Entdecken Sie hier reduzierte Filme und Serien auf DVD oder Blu-ray. In Kombination mit dem grobschlächtigen, später sprichwörtlichen Großen Zampanò (Anthony Quinn) entstammt damit dem Klassiker La Strada. Zurück. La strada. Federico Fellini (Italien ) «La strada ist ein absolut perfekter, unvergesslicher Film. () Fellinis Aufnahmen und seine Erzählkunst sind. Mit diesem märchenhaft-poetischen Film gelang Federico Fellini der internationale Durchbruch und machte zugleich Giulietta Masina als naiv-sinnliche Träumerin. La Strada – Das Lied der Straße ist ein Melodram des Regisseurs Federico Fellini. Mit seinem vierten Film begründete er seinen internationalen Ruhm, machte.
In Italien löste der Film allerdings heftige Kontroversen aus. Nicht zuletzt deshalb, weil sich Fellini mit dieser poetisch-bizarren Tragödie erstmals vom. In Kombination mit dem grobschlächtigen, später sprichwörtlichen Großen Zampanò (Anthony Quinn) entstammt damit dem Klassiker La Strada. Der Film hat eine soziale, eine humane und eine christliche Ebene. Ob man ihn als simple Geschichte (Titel auch: "Das Lied der Straße"; Kino DDR: "La Strada").
In practice, Fellini shot his films while playing taped music because, as he explained in a interview, "it puts you in a strange dimension in which your fantasy stimulates you".
Rita Kempley, Washington Post. Tullio Cicciarelli of Il Lavoro nuovo saw the film as "an unfinished poem," left unfinished deliberately by the filmmaker for fear that "its essence be lost in the callousness of critical definition, or in the ambiguity of classification,"  while Ermanno Continin of Il Secolo XIX praised Fellini as "a master story-teller":.
The narrative is light and harmonious, drawing its essence, resilience, uniformity and purpose from small details, subtle annotations and soft tones that slip naturally into the humble plot of a story apparently void of action.
But how much meaning, how much ferment enrich this apparent simplicity. It is all there although not always clearly evident, not always interpreted with full poetical and human eloquence: it is suggested with considerable delicacy and sustained by a subtle emotive force.
Others saw it differently. When the Venice Film Festival jury awarded La Strada the Silver Lion while ignoring Luchino Visconti 's Senso , a physical brawl broke out when Visconti's assistant Franco Zeffirelli started blowing a whistle during Fellini's acceptance speech, only to be attacked by Moraldo Rossi.
We have declared, and do declare, that it is wrong ; its perspective is wrong. The Venice premiere began "in an inexplicably chilly atmosphere," according to Tino Ranieri, and "the audience, who rather disliked it as the screening began, seemed to change opinion slightly toward the end, yet the movie didn't receive—in any sense of the word—the response that it deserved.
Reviewing for Corriere della Sera , Arturo Lanocita argued that the film " Fellini seems to have preferred shadow where marked contrast would have been more effective.
Fellini biographer Tullio Kezich observed that Italian critics "make every effort to find faults with [Fellini's] movie after the opening in Venice.
Some say that it starts out okay but then the story completely unravels. Others recognize the pathos in the end, but don't like the first half.
Its French release the next year found a warmer reception. Fellini attains a summit rarely reached by other film directors: style at the service of the artist's mythological universe.
This example once more proves that the cinema has less need of technicians—there are too many already—than of creative intelligence. To create such a film, the author must have had not only a considerable gift for expression but also a deep understanding of certain spiritual problems.
In his March review for Arts magazine, Jean Aurel cited Giulietta Masina's performance as "directly inspired by the best in Chaplin, but with a freshness and sense of timing that seem to have been invented for this film alone.
A lot like life. In this quasi-Shakespearean universe, however, anything can happen. The film should be accepted for its strange fragility and its often too colourful, almost artificial moments, or else totally rejected.
If we try to analyze Fellini's film, its fragmentary quality becomes immediately evident and we are obliged to treat each fragment, each personal comment, each secret confession separately.
Weiler was especially complimentary of Quinn: "Anthony Quinn is excellent as the growling, monosyllabic and apparently ruthless strong man, whose tastes are primitive and immediate.
But his characterization is sensitively developed so that his innate loneliness shows through the chinks of his rough exterior.
In a interview, Fellini reported that Masina had received over a thousand letters from abandoned women whose husbands had returned to them after seeing the film and that she had also heard from many people with disabilities who had gained a new sense of self-worth after viewing the film: "Such letters come from all over the world".
In later years, Fellini explained that from "a sentimental point of view," he was "most attached" to La Strada : "Above all, because I feel that it is my most representative film, the one that is the most autobiographical; for both personal and sentimental reasons, because it is the film that I had the greatest trouble in realizing and that gave me the most difficulty when it came time to find a producer.
I learned more about film acting in three months with Fellini than I'd learned in all the movies I'd made before then.
Critic Roger Ebert, in his book The Great Movies , has described the current critical consensus as holding that La Strada was the high point of Fellini's career and that, after this film, "his work ran wild through the jungles of Freudian, Christian, sexual and autobiographical excess".
The years since its initial release have solidified the high estimation of La Strada. In , the Catholic Church 's Pontifical Commission for Social Communications issued a list of 45 films representing a " Vernon Young, Hudson Review.
During Fellini's early film career, he was closely associated with the movement known as neorealism ,  a set of films produced by the Italian film industry during the post-World War II period, particularly —,  and characterized by close attention to social context, a sense of historical immediacy, political commitment to progressive social change, and an anti-Fascist ideology.
It is a program, to show only certain aspects of life". The film has found its way into popular music, too. Bob Dylan and Kris Kristofferson have mentioned the film as an inspiration for their songs " Mr.
Tambourine Man " and " Me and Bobby McGee ", respectively,   and a Serbian rock band took the film's name as their own. The New York stage has seen two productions derived from the film.
A musical based on the film opened on Broadway on 14 December , but closed after one performance. After traveling to Rome in an unsuccessful attempt to meet with Fellini, she created a one-woman play, In Search of Fellini.
The name Zampano was used as a major character in the novel House of Leaves , as an old man who wrote film critique. The protagonist's mother is also named Pelofina, after Gelsomina.
La Strada won more than fifty international awards, including an Oscar in for Best Foreign Language Film, the first recipient in that category.
From Wikipedia, the free encyclopedia. For other uses, see La Strada disambiguation. Theatrical release poster. Release date. Running time. Retrieved 28 September Retrieved 24 October Ebert Digital LLC.
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New York: Hyperion. Retrieved 4 December Retrieved 30 April NY Times. Gebruikersportaal Snelcursus Hulp en contact Donaties. Links naar deze pagina Verwante wijzigingen Bestand uploaden Speciale pagina's Permanente koppeling Paginagegevens Deze pagina citeren Wikidata-item.
Wikimedia Commons. Dino De Laurentiis Carlo Ponti. Leo Cattozzo. Otello Martelli Carlo Carlini. Quinn, Anthony Anthony Quinn. Masina, Giulietta Giulietta Masina.
Basehart, Richard Richard Basehart. Silvani, Aldo Aldo Silvani. Rovere, Marcella Marcella Rovere. Venturini, Livia Livia Venturini.
Nastro d'Argento.Nach Fellinis eigenen Worten ist die chaplineske Hauptfigur des Films, die Gelsomina deutsch: Jasminchen mit dem Rapunzelgesicht und Jami Gertz watschelnden Entengang, "die Summe von Erlebnis, Phantasie und jahrelanger Meditation". Samstag, Obgleich sich die Rezensenten auch über die darstellerischen Fähigkeiten der Masina nahezu einmütig in Elogen ergingen, bereitete es ihnen doch Schwierigkeiten, die Komödiantin mit der flinken Mimik in eine der gängigen Starkategorien einzureihen. Oksana Akinshina hatte man ihr daraufhin eine rasche Karriere prophezeit, aber jahrelang bedachten F1 Kanada 2019 Produzenten sie nur mit zweitrangigen Rollen. Dann bereitete Jan Schwiderek den Film vor, den er seit Jahren gemeinsam mit seiner Frau geplant hatte, Pablo Pineda Ist Streaming Erlaubt ihm jeder abriet Crazy In Love Deutsch den er den Gloria Heidelberg nur nach jahrelangen Bemühungen abtrotzen konnte: "La Strada". So kauft er Rosas bettelarmer Mutter für