Think about when you have a relative at home, dying, sick for months. Even if you're tied deep affection, the fact of living close to an inert form, decaying distress you, you can unbearable. So when this person leaves, dies, you feel a sense of liberation. With all the affection felt for her, even the most visceral, life goes on. At the time you'll be out of tune but also freed. Behold: The sweet life tends to play down everything, to face the monsters, one by one. And 'this approach virile, brave the monsters that should provoke a sense of freedom and serenity. At least to me makes this effect.
I am convinced that if people can watch the movie in the right key, not disturbed by all that is casual and journalistic reflex, the film puts it ahead of some situations that are true. You can not say that's not true. What is not true? It is true that the relationship with your father has just been mythologized and then extinguished, between us and our parents that there is an abyss? Who is not in this situation? If one has the courage to confess that with dad really just can not talk, and they only smile as a mask, what is not true? It is true that at some point our intellectual friends and ourselves when we spend an evening together, we lost in a series of arguments that do not want to say acrobatic own nothing and you will only return a sense of emptiness and silence? Or is not true that at some point everyone has a relationship with a woman attractive and repulsive beautiful, extraordinary, that has beautiful form, who goes to bed beautifully, and seems to feel that perhaps this is the warm-blooded life, but to a certain point in time it sucks because it can not be feeling so possessive that gives us life? Who has not had a girlfriend like that? Who is not fascinated and repelled at the same time a report like that of Marcello with Emma? It is true that a conversation with an aristocrat feels a sense of frost before it has really a ghost, quite often dumb, but sometimes it closed in his silence, his stratospheric distance che ti sembra di parlare con un fantasma? Se tutto questo non è vero, se questo non è mai successo, allora non mi interessa niente di quello spettatore che nega tutto questo. Vuoi dire che se non gli è successo, è talmente incapace di sentire, che la sua conversione può riguardare lo psicanalista o un profeta, non noi insomma.
Steiner
Non è che possa bene spiegare il personaggio di Steiner perché mi sono rifiutato di spiegarlo a me stesso. E' che il film posa moltissimo su questo, ci comunica l'orrore che danno certe notizie che non ci spieghiamo. Che spiegazione dai ad un pezzo di luna che si stacca e piomba sulla terra? Niente. Voglio dire, è la irrazionalità che deve comunicarti. Che significa? Perché Steiner commits suicide? Nobody told me with a wondering tone information. I heard everybody, everybody, even the most naive observer, the same was likely to be anxious when asked the same question while reading a newspaper story, like the newspapers. Massacres of the kind of comprehensive family and then kills himself. But why this thing happened? Maybe the wife, perhaps the house, but why?
's father, Emma
The episode of the father may seem divagational or different, but the secret key, the more true of the movie is not at all. In my opinion, the film is a series of proposals to the availability of Marcellus, memories Remember, umbilical cords with the past, or attempts to cling to future possibilities, then the relationship with her father could not be excluded. Then, even the one with Emma. Instead I tell insistently, that Emma is an animal heat, which provides a feeling of Marcello's life, short life of the province.
talking about the intentions, the result, so this aspect of their swelling, excessive, the risk of touching the fatigue was my intention, that is, this arrhythmia time ... The orgy I did it deliberately so long, because I did not mean that there was nothing I did foresee the end. It must have been a series of automatic movements that are repeated obsessively, just a confused worms, movements of shapes, their forms, because at one time, boredom, what is it? It is not a repetition of data movement. That these are people that bored to the point where, that are not tearing each other. So if I had given a different pace and film, there was this sense. The other night when at one point started to say "it sucks, just, shame" and Marcello continued to pull her down, it was marvelous: the whole scene took on a transcendent power. They said it's a shame, it's disgusting Marcello and continued to pull feathers. As a director, every time I would have him put a speaker in back of the room and at that point there would always be there for three or four action items: because the film went on like an iceberg relentless and people screaming sounded like that was inside the screen. It was really exciting, really exciting. He came to me to applaud the result.
A final Qabalistic
I had thought to close over the fish. But I really seemed too blatant affair and also easy enough ... I also thought about turning to close on the organ, that is, this kind of final parade when everybody leaves, greeting, thanking you appointment and giving himself to Capri, Cortina, exchanging phone numbers, congratulations, everyone becomes so light in fact. Rode in the car then there is the pine forest, the morning sun, you could hear the sounds of these engines that start, these heads swaying so caressed by the sun, sleep, fatigue, someone took over the speeches, lit up the radio, a car passed a second, third, remained the pine forest, as well as a kind of cathedral, with this powder that fell slow, this sbarbagliava sun through the branches of these faces, end there. It would be fair enough to a final like that. But since I feel with deep conviction any attempt transfiguring that in the film, that is, having to tell a transparency, a telling sign of wanting to live around there, so we wanted a lock that still looked like this: the appearance of a face final, mysterious, ambiguous, that mischievous do not know what he says, speaking so, mysterious, with signs that you do not understand the interpretation. Although this is status, although this is a clown, you clown, better yet, better yet, that is, even though that is a dream: it is even more true. So really an ending so cabalistic, a figure that seems, however, the purity but also the face of a smiling old lady, but do not understand what he says smiling. That is, I'll always be: I doubt, I dream, I really, I sure, I will always follow, but you can go with your party of men-beasts that perhaps you are more congenial and perhaps through them you rediscover me again. With this speech as a bit of a sorcerer, which I am doing, I realize that may seem really a farce, a bit too complacent, but with the same sincerity that I say I'm quite convinced.
(excerpt from the interview with Federico Fellini published in the journal Screen, March 1960)
Pictures e. .. some memory
First up, Federico Fellini camera while turning the sweet life , brochures for overseas sales of films devoted to Fellini's Armando Giuffrida, November 1990, at the time of the Metropolis Library in Rome ... that time!
Second, the cover of the publication dedicated to the sweet life (circulation 300 copies), drawings by Fabrizio Clerici, December 1959.
Third, the cover of the brochure of the original Italian sweet life The , distribution Cineriz.
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