La Dolce Vita (Italian pronunciation: [la ˈdoltʃe ˈviːta]; Italian for “the sweet life” or “the good life”) is a 1960 comedy-drama film written and directed by the critically acclaimed director Federico Fellini. The film follows Marcello Rubini, a journalist writing for gossip magazines, over seven days and nights on his journey through the “sweet life” of Rome in a fruitless search for love and happiness. La Dolce Vita won the Palme d’Or (Golden Palm) at the 1960 Cannes Film Festival and theOscar for Best Costumes.
Plot
Based on the most common interpretation of the storyline,[4] the film can be divided into a prologue, seven major episodes interrupted by an intermezzo, and an epilogue. If the evenings of each episode were joined with the morning of the respective preceding episode together as a day, they would form seven consecutive days, which may not necessarily be the case.
Prologue
1st Day Sequence: A helicopter transports a statue of Christ over an ancient Roman aqueduct outside Rome while a second, Marcello Rubini’s news helicopter, follows it into the city. The news helicopter is momentarily sidetracked by a group of bikini-clad women sunbathing on the rooftop of a high-rise apartment building. Hovering above, Marcello uses gestures to elicit phone numbers from them but fails in his attempt then shrugs and continues on following the statue into Saint Peter’s Square.
Episode 1
1st Night Sequence: Marcello meets Maddalena (Anouk Aimée) by chance in an exclusive nightclub. A beautiful and wealthy heiress, Maddalena is tired of Rome and constantly in search of new sensations while Marcello finds Rome suits him as a jungle he can hide in. They make love in the bedroom of a prostitute to whom they had given a ride home in Maddalena’s Cadillac.
1st Dawn Sequence: Marcello returns to his apartment at dawn to find that his fiancée, Emma (Yvonne Furneaux), has overdosed. On the way to the hospital, he declares his everlasting love to her and again as she lies in a semiconscious state in the emergency room. While waiting frantically for her recovery, however, he tries to make a phone call to Maddalena.
Episode 2
2nd Day Sequence: That day, he goes on assignment for the arrival of Sylvia (Anita Ekberg), a famous Swedish-American actress, at Ciampino airport where she is met by a horde of news reporters.
During Sylvia’s press conference, Marcello calls home to ensure Emma has taken her medication while reassuring her that he is not alone with Sylvia. After the film star confidently replies to the barrage of journalists’ questions, Marcello casually recommends that Sylvia be taken on a tour of St Peter’s.
Inside St Peter’s dome, a news reporter complains that Sylvia is “an elevator” because none of them can match her energetic climb up the numerous flights of stairs. Inspired, Marcello maneuvers forward to be alone with her when they finally reach the balcony overlooking the Vatican.
2nd Night Sequence: That evening, the infatuated Marcello dances with Sylvia in the Baths of Caracalla. Sylvia’s natural sensuality triggers raucous partying while Robert (Lex Barker), her bored fiancé, reads a newspaper. His humiliating remark to her causes Sylvia to leave the group, eagerly followed by Marcello and his paparazzi colleagues. Finding themselves alone, Marcello and Sylvia spend the rest of the evening in the alleys of Rome where they wade into the Trevi Fountain.
2nd Dawn Sequence: Like a magic spell that has suddenly been broken, dawn arrives at the very moment Sylvia playfully “anoints” Marcello’s head with fountain water. They drive back to Sylvia’s hotel to find an enraged Robert waiting for her in his car. Robert slaps Sylvia, orders her to go to bed, and then assaults Marcello who takes it in stride.
Episode 3a
3rd Day Sequence: Marcello meets Steiner (Alain Cuny), his distinguished intellectual friend, inside a church playing Bach on the organ. Steiner shows off his book of Sanskrit grammar.
Episode 4
4th Day Sequence: Late afternoon, Marcello, his photographer friend Paparazzo (Walter Santesso), and Emma drive to the outskirts of Rome to cover the story of the purported sighting of the Madonna by two children. Although the Catholic Church is officially skeptical, a huge crowd of devotees and reporters gathers at the site.
3rd Night Sequence: That night, the event is broadcast over Italian radio and television. Blindly following the two children from corner to corner in a downpour, the crowd tears a small tree apart for its branches and leaves said to have sheltered the Madonna. Meanwhile, Emma prays to the Virgin Mary to be given sole possession of Marcello’s heart.
3rd Dawn Sequence: The gathering ends at dawn with the crowd mourning a sick child, a pilgrim brought by his mother to be healed, but trampled to death in the melee.
Episode 3b
4th Night Sequence: One evening, Marcello and Emma attend a gathering at Steiner’s luxurious home where they are introduced to a group of intellectuals who recite poetry, strum the guitar, offer philosophical ideas, and listen to sounds of nature recorded on tape. While one of the women declares it better not to get married so that one does not need to choose, Marcello responds that it is better to be chosen than to choose. Emma appears enchanted with Steiner’s home and children, telling Marcello that one day he will have a home like Steiner’s.
Outside on the terrace, Marcello confesses to Steiner his admiration for all he stands for, but Steiner admits he is torn between the security that a materialistic life affords and his longing for a more spiritual albeit insecure way of life. Steiner philosophizes about the need for love in the world and fears what his children may grow up to face one day.
Intermezzo
5th Day Sequence: Marcello spends the afternoon working on his novel at a seaside restaurant where he meets Paola (Valeria Ciangottini), a young waitress from Perugia playing Perez Prado’s cha-cha Patriciaon the jukebox and then humming its tune. He asks her if she has a boyfriend, then describes her as an angel in Umbrian paintings.
Episode 5
5th Night Sequence: Marcello meets his father (Annibale Ninchi) visiting Rome on the Via Veneto. With Paparazzo, they go to the Cha-Cha-Cha Club where Marcello introduces his father to Fanny (Magali Noël), a beautiful dancer and one of his past one-night stands (he had promised to get her picture in the paper, but failed to do it). Fanny takes a liking to his father. Marcello tells Paparazzo that as a child he had never seen much of his father, who would spend weeks away from home. Fanny invites Marcello’s father back to her flat, and two other dancers invite the two younger men to go with them. Marcello leaves the others when they get to the dancers’ neighborhood. Fanny comes out of her house, upset that Marcello’s father has gotten ill.
4th Dawn Sequence: Marcello’s father has suffered what seems to be a mild heart attack. Marcello wants him to stay with him in Rome so they can get to know each other, but his father, weakened, wants to go home and gets in a taxi to catch the first train home. He leaves Marcello forlorn, on the street, watching the taxi leave.
Episode 6
6th Night Sequence: Marcello, Nico (playing herself), and other friends met on the Via Veneto are driven to a castle owned by aristocrats at Bassano di Sutri outside Rome. There is already a party long in progress, and the party-goers are bleary-eyed and intoxicated. By chance, Marcello meets Maddalena again. The two of them explore a suite of ruins annexed to the castle. Maddalena seats Marcello in a vast room and then closets herself in another room connected by an echo chamber. As a disembodied voice, Maddalena asks him to marry her; Marcello professes his love for her, avoiding answering her proposal. Another man kisses and embraces Maddalena, who loses interest in Marcello. He rejoins the group, and eventually spends the night with Jane (Audrey McDonald), an American artist and heiress.
5th Dawn Sequence: Burnt out and bleary-eyed, the group returns at dawn to the main section of the castle, to be met by the matriarch of the castle, who is on her way to mass, accompanied by priests in a procession.
Episode 3c
7th Night Sequence: Marcello and Emma are alone in his sports car on an isolated road. Emma starts an argument by protesting her love, and tries to get out of the car; Marcello pleads with her not to get out. Emma says that Marcello will never find another woman who loves him the way she does. Marcello becomes enraged at her, telling her that he cannot live with her maternal and smothering love. He now wants her to get out of the car, and she refuses. With some violence (a bite from her and a slap from him), he throws her out of the car and drives off. She is left alone on a dark, lonely road, in the dark. After some hours (it is now dawn), Emma is still alone on the road, holding flowers, when she hears his car approaching. She gets in the car without saying a word.
6th Dawn Sequence: Marcello and Emma are asleep in bed, tenderly intertwined; Marcello receives a phone call. He rushes to the Steiners’ apartment and learns that Steiner has killed himself and his two children.
6th Day Sequence: After waiting with the police for Steiner’s wife to return home, he meets her outside to break the terrible news while paparazzi swarm around her snapping pictures.
Episode 7
8th Night Sequence: An unspecified amount of time later, an older Marcello—now with gray in his hair—and a group of partygoers break into a Fregene beach house owned by Riccardo, a friend of Marcello’s. To celebrate her recent divorce from Riccardo, Nadia performs a striptease to Perez Prado’s cha-cha Patricia. The drunken Marcello attempts to provoke the other partygoers into an orgy. Due to their inebriated states, however, the party descends into mayhem with Marcello throwing pillow feathers around the room as he rides a young woman crawling on her hands and knees. Riccardo shows up at the house and angrily tells the partiers to leave.
Epilogue
7th Dawn Sequence: The party proceeds to the beach at dawn where they find a modern-day leviathan, a bloated, stingray-like creature, caught in the fishermen’s nets. In his stupor, Marcello comments on how its eyes stare even in death.
7th Day Sequence: Paola, the adolescent waitress from the seaside restaurant in Fregene, calls to Marcello from across an estuary but the words they exchange are lost on the wind, drowned out by the crash of the waves. He signals his inability to understand what she is saying or interpret her gestures. He shrugs and returns to the partygoers; one of the women joins him and they hold hands as they walk away from the beach. In a long final close-up, Paola waves to Marcello then stands watching him with an enigmatic smile.
UTK Cinema Studies: History of Italian Cinema 