To find inner peace, she goes to a psychological session. The optional English subtitles are good, clear and readable, but the images on display are so stunning that they do get in the way and it is tempting to dispense with them altogether for the little comprehension they add to the film. This is definitely one of the most eccentric and whimsical movies I've ever watched. The movie as a whole didn't work for me, and I'm not really sure that I liked it. He died in October of that year.
I'd say it's up there with Gone With the Wind, Black Narcissus and The Conformist as one of the most breathtaking color films in cinema. Suzy's home includes a chute that leads straight from her bed to a swimming pool, and a treehouse with an electric hoist that hauls up her lovers in a wicker basket. But the real secrets to Fellini's films are never discussed, perhaps because the films speak for themselves. You have to wonder what was going through her mind as her husband practically masturbated with his camera—to all the imagery except for the image of his wife. Fellini's 1st full-length feature film originally came to my attention via a big screen presentation at Derby Film Festival, many moons ago. An analysis of pixel values within these film frames excluding the top and bottom black bars reveals that the Criterion sits at solid black, with a pixel value of 0 zero at all pixels within the frame. In the meantime, you can appreciate the overactive imagination of Fellini as he fills the screen with elaborate costumes and bizarre visions, which are undeniably arresting and provide the most stimulating reason to watch.
I noticed no instances of edge enhancement. I wonder how many other ropes tethered him. They hold a séance after which Giulietta continues to have visions and hear voices. Especially if we have seen it before. First, can anyone establish that the cooler, bluer color timing is in fact the intended look? The only time the movie did so was in the last 20 minutes. Now, this landmark film is available on Blu-ray for home viewing from Cult Films, via a 1080i presentation.
His follow-up, Juliet of the Spirits, is an equally indulgent affair that serves loosely as an apology to his wife Giulietta Masina, who also stars in the film , on whom he cheated for more or less the entirety of their marriage; the resulting film is as much his fantasy sexual extravagance as hers Masina had a keen interest in the psychic realm. While we're having a bad Criterion moment can I add their oherwise gorgeous My Own Private Idaho which is imbued with a golden glow throughout the picture and has been virtually scrubbed clean of its grain. Interestingly enough I watched Paranoid Park a couple nights ago, and realized there was some music from Amarcord in it, but the majority of it is stolen from Juliet. What was she thinking while she made the film? Once again examining his own personal demons of sexuality and religious guilt, here he imposes them onto those of the lead female character. Might get it now then. Maybe it's too whimsical for its own good! The movie is borderline-catatonic until Giulietta visits Suzy's home 75 minutes into the flick except for an earlier brief scene of Suzy in the beach but Nino Rota keeps the proceedings humming along with another playfully majestic score.
As she is tempted by romanceï¿½and suspects her own husband of an affairï¿½she is haunted. She really comes across as plain in the film, with all the circus-like imagery swirling around her. Fellini conceptualized, wrote and directed a film about a woman. And after all that argy bargy about Criterion's botched Cercle Rouge! It's a fine essay and increases our appreciation of what was accomplished here. I'll also meekly add Juliet is my favourite Fellini movie, something which I've hardly ever tried to defend--why bother.
Also there is a review of I Vitelloni on which compares with the Criterion and says that the Nouveaux disc is also brighter in this case. At this point, the movie becomes a true Fellini film, infused with dream imagery and surreality. When Juliet has fantasies, they're Fellini's fantasies. There are few marks or scratches, just a crystal clear 1. The movie, starring a sad-eyed who fears her husband is cheating, suggests she'd be happier if she were more like her neighbor, a buxom temptress who entertains men in a tree house. I still can't figure out why I'm the only one who thinks this Fellini's best movie.
Notwithstanding severe cropping and crushed whites, as far as image quality is concerned the Criterion disc is the preferred disc. They were in the right show: A head trip, as they said. One main issue I have with it is that it seems to wander a bit, and I had a little trouble keeping track of what exactly the point of the movie was as it moved along, however, Fellini films stand up very well to second third and so on viewings. The Nina Rota scores often sound like dance music, and frequently quote old standards; the result is a film that sometimes seems on the brink of bursting into a musical. The other is the cinematography sometimes spoiled by this transfer which is less clear and more distorted due to it being taken from a 35mm and then not enhanced.
She can't decide on what to wear, and her maids are in a tizzy trying to sort her out for the evening. As Juliet discovers that Giorgio is unfaithful to her, Juliet begins to undergo an inward liberation, at the same time dealing with bombarding personalities from every direction: One of her sisters Sylva Koscina is an uppity television host; another sister Luisa Della Noce suggests coldly that Juliet hire a private dick to rat out Giorgio; her well-preserved mother Caterina Boratto is somewhat domineering and manipulative. This is the first Fellini film I watch, and also it's the first time I found myself riveted and bored at the same time while watching a movie! Perhaps the real Giulietta is aware of this: her cryptic smile throughout the film is like the Mona Lisa. Picture The picture is absolutely marvellous. Instead concentrate on the images that, at first, accuse and terrorize Juliet - it doesn't matter if she reaches emotional emancipation, the journey being better than the destination. This is definitely one of the most eccentric and whimsical movies I've ever watched.
Juliet succeeds when it operates in full-bore hysterical mode, throwing everything but the kitchen sink on screen in an effort to impress us with its remarkable visual composition. I just read a good, rather positive review of Juliet of the Spirits by Harlan Ellison written around the time of the film's release, published in his book of film reviews, Watching , and he aptly compares this film's images to that of Hieronymus Bosch. I never picked up the Nouveaux disc, and looking back again at the captures I'm not sure I want to. I don't think I understand this. Club members also get access to our members-only section on RogerEbert. Whether ghosts or mortals, they all seem projections of Juliet's struggle between lust and spirituality, formed in childhood and aggravated by jealousy over her husband's deceit. Her sisters, and especially her Mother overshadow her with their beauty.
After one greatly successful film viewers tend to go into the director's next film with specific expectations compared to their experience of the previous masterpiece. Its dynamic range is far superior to that of the Asmik Ace disc. Dylan wrote:I've always loved this film, but with time I've come to consider it Fellini's greatest after 8½ and La Dolce Vita. Fellini, like all Italian directors of his time, did not record live sound on his sets, but dubbed all the dialog and sound effects later. It is well known that young Federico experienced some kind of psychic fixation during his first visit to the circus, and all of his films feature processions or parades. Following a wonderfully over-the-top consultation with a renowned psychic, Juliet enters a parallel world of the spirits, unleashing an array of colourful creations that light up the screen during their time with us.