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4.5 out of 5 stars
33
4.5 out of 5 stars
La Strada [DVD] [1954]
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on 21 November 2017
La Strada is a simple but beautifully crafted story that transcends itself to encompass the big themes in life; love, hope, loneliness, regret, loss, dreams and so much more. Add to that three magnificent performances from Masina, Quinn and Basehart and you have a movie that stays with you. A movie that bears repeated viewing. In short, one of the great movies and Fellini's finest moment
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on 28 July 2017
A slight fault in synchronisation but apart from that it is one of the best films ever made. I have watched it 3 times!
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on 2 August 2017
outstanding film
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on 1 September 2017
Brill
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on 5 November 2017
Great dvd it arrived on time quality as expected.
Thanks
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on 23 November 2000
For anyone who likes foreign language films, La Strada is essential viewing. Winner of the Best Foreign Film Oscar in 1956, as well as numerous other awards, it is brilliant at every level. Superbly directed by Fellini and wonderfully acted by Anthony Quinn as the brutal strongman and Giuletta Masina as the fool with the heart of gold, sold into virtual slavery by her own mother, it features some stunning locations as the strongman and his "slave" embark on their beautiful, yet melancholy, odyssey through the backroads of Italy.
It is a film that you can watch time and time again. It may be viewed as a simple "road movie", but it also operates at a deeper level as an allegorical quest for the very essence of life. La Strada is, quite simply, a masterpiece.
On a technical note, the sound and picture quality of this VHS version are excellent, and the subtitles are always very clear.
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TOP 500 REVIEWERon 6 March 2013
Fellini's 1954 masterpiece La Strada is as good an example as any in cinema of the maxim 'less is more'. The film's depiction of a simple human story via its mix of comedy, realism, romance and tragedy is both affecting and emotionally devastating, and is superbly portrayed by Fellini's cast, not least of which is Giulietta Masina's (Mrs Fellini) heartfelt turn as Gelsomina, a young woman whose family's poverty forces her to leave home and take up with 'strolling player' and circus strongman Zampano (played with increasing emotional complexity and subtlety by Anthony Quinn). In fact, to think that the child-like Masina was actually 33 years old when the film was made is quite astonishing.

Indeed, although Fellini's film could be regarded 'simply' as a human emotional tragedy, the director has imbued it with a realism signifying wider social relevance, as cinematographer Otello Martelli captures its poverty stricken (mixed urban and rural) milieu brilliantly in its southern central Italian locations, as well as including religious themes in its memorable scenes of a Catholic procession and Zampano and Gelsomina's overnight stay at a convent. Fellini also makes a darkly comic comment on Italy's renowned strong family bonding, during the film's brilliant opening sequence as Gelsomina's mother criticises her daughter ('She's a bit strange') and is quite willing to take Zampano's 10,000 lire to allow Gelsomina to join him on his travels ('We can mend the roof and eat for a time'). It is during these early scenes where the Gelsomina character's comic influence is most obvious (Charlie Chaplin) - as are the film's influences from silent film generally, with its focus on physical, visual comedy - and during which Gelsomina learns of Zampano's brutal (and womanising) nature.

Acting-wise, although there are a number of impressive turns here, notably Richard Baseheart's comedic turn as the tightrope walker, Il Matto (The Fool), whose constant baiting of Zampano provoke the strongman's violent response, thereby gaining Gelsomina's sympathy, and from Aldo Silvani as the stoic and kind-hearted circus owner Signor Giraffa, it is the central pairing of Quinn and Masina that carry the film's emotional power. Gelsomina's feelings of helplessness and drudging subservience are for a moment alleviated during a brilliant scene with Il Matto, during which the latter philosophises that everything (referring to a stone) has its uses, even Gelsomina, with her 'Ugly artichoke head' - thereby causing her to view her relationship with Zampano more positively.

Thereafter Masina's increasingly tragic portrayal becomes (for me) one of the most memorably powerful and poignant in cinema, and Fellini's subtle ending to the film as his camera draws back on Zampano's sobbing frame, and Nino Rota's sublime theme washes over us, is simply brilliant. In my book, the film's affecting power puts it right up with other cinematic greats (of a similar ilk) such as The Bicycle Thieves, Les Enfants Du Paradis and L'Atalante.

The DVD extras include an excellent documentary on Masina, in which she hilariously recounts the film's premiere in London at which the British public thought she actually was the circus-bound waif depicted in the film (who Fellini had married out of pity!).
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on 11 April 2017
It's a great great movie, But the picture wasn't as sharp as it could have been. I have seen a sharper version.
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on 6 April 2017
Another Fellini classic.
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on 1 August 2017
One of the best films ever made
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