ARM AT THE ALLEY
Juliet of the Spirits
During the filming, Fellini remarked: "the cinema is the unique and perfect tool to explore with precision the inner landscapes of the human being. I've always wanted to do a tale born entirely of the imagination."
JULIET OF THE SPIRITS is it. A wife is having her mind blown, her entire identity thrown into question, by the infidelities of her business-executive husband. She increasingly withdraws into fantasy. She is a naive woman, but clairvoyant. Her mind trips are progressively rich, gorgeous, and overwhelming.
Fellini's sets and costumes are stunning, his "scenes" enthralling: an Arabian beach tent, an art-nouveau brothel, a pleasure raft. Fellini's obsession in JULIET OF THE SPIRITS is women: on swings, trapezes, horses, beds, branches; and the "plot" of the film is one woman's self-discovery in fantasy. Giuletta Masina, an incredibly talented mime, plays the self-enchanted wife.
"The extraordinary pictorial beauty is due to the skill with which - and for the first time in a full-length film - Fellini makes use of the resources of color film. I'm fairly sure you will never have looked on a more ravishing picture. Fellini's vision has always been lyrical, and whatever the rest of us do, it is plain that he dreams in color, and that his palette is exceptionally bold and delicate. - NEW YORKER
Aug. 25-28 8:00-10:30