La Strada was strongly influenced by neorealism, but there is also evidence of hints of what's to come from Fellini’s later cinematic creations.  Fellini argued that neorealism should not merely emphasize on the characters social status, but also the spiritual and philosophical portion.  For example, Fellini has several themes intermingled in La Strade such as the circus, a character in midair (performing a tightrope act), a lusty man, and the sea among other themes.  These themes have strong spiritual and philosophical connotation in the manner in which Fellini visually expresses the themes.  Thus, it seems as if Fellini began his cinematic experimentation in La Strada, as he continued to develop his calling.

The opening scene depicts Gelsomina (Giulietta Masina) standing on an empty and untouched beach along the Mediterranean.  Gelsomina is the films heroine, a feeble and dimwitted character, yet she has the heart in the right place as she innocently explores what confronts her.  The scene by the sea intriguingly grabs the audience's attention as it does Gelsomina as if she expects an answer from the seemingly endless sea.  This is a classic example of Fellini’s cinematic expressiveness as he subtly plants a seed within the audience's mind, which will later bloom as the tale continues.

Zampano (Anthony Quinn), a bullying strongman who travels from town to town to display his only talent, breaking chains with his chest, buys Gelsomina for a meager 10000 Lire.  Together they venture, in his motorcycle trailer that functions as home, office, and storage all in one, to a new town.  At first, Gelsomina is awestruck by her part in the small traveling spectacle, where she is trained like a puppy to beat a drum in order to assemble an audience.  She feels a clear affection from Zampano, while he at this moment is completely unaware of himself.

Gradually Gelsomina begins to steal his act with her charismatic innocent clownish look, which is Chaplinesque as some have put it.  Gelsomina's success stirs Zampano’s anger, which seems to be the only feeling he is capable of expressing.  This triggers Zampano to further his exploitation of Gelsomina as he  physically and sexually abuses her.  However, it is not the abuse that troubles her the most.  In pain Gelsomina watches Zampano disregard the natural beauty of what passes them on their journey.  It is Zampano’s blindness to the small wonders of the world that stirs up warm affections within her.

Gelsomina encounters a character that is referred to as the Fool (Richard Basehart) as she temporarily escapes the brutish Zampano.  When Gelsomina sees the Fool for the first time he is performing on a rope between two buildings where he is dressed as a bumblebee that sits down in midair while eating pasta.  Unlike Zampano, the Fool appears to be rather wise as he suggests that Gelsomina should leave him, yet Gelsomina insists on staying with Zampano.  This cinematic moment emphasizes Gelsomina’s kind and forgiving nature, which could be similar to the one of a saint.  In addition, it brings the focus to Gelsomina and the unconditional love she has for Zampano.

Zampano continues to be brutish, but it is his brutishness that Gelsomina recognizes as his weakness.  It seems as if Zampano is rough and tough in order to deal with his inner feelings, but it also clouds his own judgment as he fails to see his love for Gelsomina.  This is truly tragic, as they both want one another, yet one is continuing to reject the other.

La Strada offers a brilliant cinematic experience that offers much to contemplate in a spiritual, existential, philosophical, and socioeconomic manner as the images spellbind the audience.  The cinematography and the music in the film can distinctively be recognized as a part of Fellini’s story telling, which enhances and stirs up the emotional portion of the film.  Fellini’s wife, Giulietta Masina, performed magnificently as her character slowly grew throughout the tale and Anthony Quinn brought the extra that was needed in order to convey a genuine brute.  Ultimately, Fellini will offer the audience a cinematic gift that will leave no one untouched as two opposites attract. 

DIRECTED BY

Federico Fellini

COUNTRY

Italy

Filmography links and data courtesy of