Puppies Bumps On Tails

The White Sheik - Federico Fellini (1952)




TITLE The white sceicco

YEAR 1952 SUBTITLES Si (Separate) DURATION 88 min.

Federico Fellini

DIRECTOR SCREENWRITER

Federico Fellini, Tullio Pinelli, Ennio Flaiano (History: Michelangelo Antonioni)

Nino Rota MUSIC PHOTOGRAPHY

Arturo Gallea (B & W) CAST

Alberto Sordi, Brunella Bovo , Leopoldo Trieste, Giulietta Masina, Lilia Landi

PRODUCER Luigi Rovere

GENDER

Comedy SYNOPSIS

A couple provincial bourgeois pretensions Honeymoon travel to Rome. There, the bride spends most time with their idol of a novela, a man self-centered womanizer who demonstrates a complete lack of charm. (PRO)

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subtitulos

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On the construction of intimate characters, inserted into a Kafkaesque atmosphere of taste, based White Sheik. The film not only confirms the possibility of directing after Federico Fellini Variety Lights in direct collaboration with Lattuada, but also offers the example of a work which, to be evaluated in its actual values, it requires careful reading and maybe a rereading. At first glance, in fact, escapes the singularity of the work, because Fellini seems to move ordinary people in common areas in an action that would say almost trivial. But those people, those environments, those actions take on precise meanings to invest, albeit indirectly, a review and critique.

rating and critics were, for that matter, even at the start of the variety of lights. However, while in the movie Lili in the end still lives in the world of comics (significant, in that sense, the newspapers asking the lover) and of himself does not really solve anything, in The White Sheik Wanda, also formed on the provincial and picture stories, manages to escape from the 'loving lies "when he was romantically entangled. His adventure becomes a positive experience because returns to reality.
solves very little, however, the husband. Typically, provincial and petty-bourgeois in its external authority and dignity, when Wanda was deleted to run after the ghost of his White Sheik, rather than the fate of his wife, take care to avoid scandal, to defend - in front of the 'uncle' , government official - its petty personality. So much so that, for fear not only of scandal but even to know the truth, rather hypocritically do not ask for an explanation, in short, remain ignorant and do not miss hearing the Pope

Among
these two figures stands the sheik, and then the environment of the rotogravure comic. Here too, the Fellini often turns out to describe and interpret. The presentation of the 'hero' comes from a genuine inventive imagination: he appears in the enchanted eyes of Wanda as a god, swinging on a swing tied to two tall pine trees. Tasty and other unusual find, such as the brass band of sharpshooters and the Commissioner that, given the unwillingness of Ivan, it takes visionary. We note, however, The White Sheik in an imbalance of tone, which is the imbalance of the same film. Fellini does not always stay on the plan mentioned, often, in fact, expire in caricature, parody, in the farce, the caricaturist. Specks are, for example, the director of the picture story (while remaining beautiful beach of the sequence) of the 'uncle' and his family, the holiday maker and the two peripatetic playboy (Masina is a speck in Europe '51, denouncing unfortunately a significant decline compared to the lights of varieties). Guido Aristarchus
From Cinema Novo, No. 1, December 15, 1952