What do I love most about Federico Fellini's wondrous THE NIGHTS OF CABIRIA?
I love the opening scenes when Cabiria (Giulietta Masina) is robbed and dumped in the Tiber River, and the bikinied Roman boys jump in to save her, but she is annoyed that they have saved her life because she wants to know what happened to Giorgio, who she thinks ran away because "he was scared." He's the one who had robbed and nearly drowned her.
I love the many nocturnal scenes around the Passeggiata Archeologica in Rome where the gargoylish prostitutes, like angelic gargoyle Cabiria herself, are selected by their customers approaching in cars, and the wild and saucy humor that accompanies those scenes, particularly when they deal with one elephantine hooker named "Bomba Atomica."
I love the scene at the religious shrine of Divina Amore, where everyone comes to vociferate their desired favors, and Cabiria pleads to be released from her life as a streetwalker, and the old lame man falls at the foot of the altar, unhealed. The intensity of the build-up, the virtuosic camera work, the faces of the pious, are all breathtaking.
I love the famed scene in the sleazy theatre where Cabiria, at the hands of an unscrupulous hypnotist, relives a tender and poignant scene from her youth in front of a crowd of louts.
I love the scenes in and around Cabiria's Ostia Road hovel, and the little boys who climb giant Jungle Jims and call out her name, and she waves back.
I love Cabiria's friend Wanda (Franca Marzi), whom she loves dearly. She is a million times less vulnerable that our heroine and takes Cabiria's rants with gracious generosity.
I love the scene of that night Cabiria spends in the luxurious villa of a movie star (Amedeo Nazzari.) She is totally out of her element, doesn't recognize lobster, cuddles a cute puppy as fragile as she is, butts her head against unseen doors.
I love the deity-kissed music of Nino Rota, lilting us, as it captures the soul of Fellini's lovely wife, Giulietta/Cabiria.
And I love the overwhelming and moving finale, when Cabiria is robbed by water once more, this time by a cruel scammer feigning love and for whom Cabiria was ready to start life anew. She rises from her anguish, and as she follows the road revelers, turns and smiles to us, to ME! the most eloquent smile in Italian artistic creation since La Gioconda.
Smile at us, Cabiria, or are you Giulietta Masina smiling now? Or both of you at once? We truly need that smile.
I love the opening scenes when Cabiria (Giulietta Masina) is robbed and dumped in the Tiber River, and the bikinied Roman boys jump in to save her, but she is annoyed that they have saved her life because she wants to know what happened to Giorgio, who she thinks ran away because "he was scared." He's the one who had robbed and nearly drowned her.
I love the many nocturnal scenes around the Passeggiata Archeologica in Rome where the gargoylish prostitutes, like angelic gargoyle Cabiria herself, are selected by their customers approaching in cars, and the wild and saucy humor that accompanies those scenes, particularly when they deal with one elephantine hooker named "Bomba Atomica."
I love the scene at the religious shrine of Divina Amore, where everyone comes to vociferate their desired favors, and Cabiria pleads to be released from her life as a streetwalker, and the old lame man falls at the foot of the altar, unhealed. The intensity of the build-up, the virtuosic camera work, the faces of the pious, are all breathtaking.
I love the famed scene in the sleazy theatre where Cabiria, at the hands of an unscrupulous hypnotist, relives a tender and poignant scene from her youth in front of a crowd of louts.
I love the scenes in and around Cabiria's Ostia Road hovel, and the little boys who climb giant Jungle Jims and call out her name, and she waves back.
I love Cabiria's friend Wanda (Franca Marzi), whom she loves dearly. She is a million times less vulnerable that our heroine and takes Cabiria's rants with gracious generosity.
I love the scene of that night Cabiria spends in the luxurious villa of a movie star (Amedeo Nazzari.) She is totally out of her element, doesn't recognize lobster, cuddles a cute puppy as fragile as she is, butts her head against unseen doors.
I love the deity-kissed music of Nino Rota, lilting us, as it captures the soul of Fellini's lovely wife, Giulietta/Cabiria.
And I love the overwhelming and moving finale, when Cabiria is robbed by water once more, this time by a cruel scammer feigning love and for whom Cabiria was ready to start life anew. She rises from her anguish, and as she follows the road revelers, turns and smiles to us, to ME! the most eloquent smile in Italian artistic creation since La Gioconda.
Smile at us, Cabiria, or are you Giulietta Masina smiling now? Or both of you at once? We truly need that smile.