In essence, the whole of Fellini can be found in [the first] sequence from La Strada [which ends with Gelsomina following the circus band after leaving Zampano]. His thematic centre is here. To begin with, reinforced by the title itself, there is the sense of life as a journey, as a constant tearing away from things known and a plunging into the unfamiliar. Unlike Bergman, however, whose allegoric wanderings are generally from place to place … in Fellini, there is seldom any sense of direction or eventual goal. The form of his films tends to be circular, the characters usually ending where they began.
This restlessness of movement can work in different ways. Occasionally, as with the nuns in La Strada, there is the feeling that we must give up things dear to us before we get too fond of them; but more frequently there is the feeling that only by moving on, by probing and searching, can we ever come to know the purpose of life. Fellini's fondness for processions is obviously related to this. Indeed, it sometimes seems as if the celebration of movement such as we witness in processions may by itself provide the purpose, as if in terrestrial terms there may be, in fact, no goal.
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