New PDF release: A Revision of the Atomic Weight of Lead (1914)(en)(7s)

By Baxter G.P., Grover F.L.

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La Strada Gelsomina is and dejected by the side of the road a solitary, riderless horse suddenly traverses the screen the effect is positively surrealistic totally arbitrary, yet giving an instant visual reinforcement to the mood of the scene. The lost horse might well be a figment of Gelsomina's imagination, an image of her own state. But it is also a real horse, and its appearance here at this time is not impossible, only mildly peculiar. There may, for all we know, have actually been a stray horse there at the time of shooting which was seized on and pressed into service, in the same way that the three musicians whom elsewhere she falls in behind as they march along playing cheerfully to the empty countryside were, in fact, itinerant musicians who turned up in just this way.

His only answer is the classic artist's answer to try again to make sense in his art of what in his life remains ever unsatisfactory and elusive. In his life he may be hopelessly incapable of coming to terms with the world around him, but in his own world of cinema, where he is a little god, he can order things as he thinks they should be there life is a circus, and he the ringmaster cracking the whip, which is exactly what, in the last scene of the film, he turns out to be. As the adult Guido acts as master of ceremonies, the characters of the film, real and fantasy, alive and dead, the most disreputable and the most respectable, all join together in a happy band to take their bows, among them the young Guido, who is the last to leave, pursued by : ; a spotlight into the gathering dark.

And this is precisely how they worked on it (the ubiquitous Pier Paolo Pasolini was also called in for advice on slum dialogue). to have ; The fact that nevertheless the finished film holds together as it FEDERICO FELLINI 37 does as the unmistakable expression of one man's vision is in the circumstances no small tribute to Fellini as the originator, coordinator and realizer of the enterprise. The film bears his stamp throughout, and if not the outright masterpiece we might have Vitelloni^ La Strada and // Bidone, a demon- hoped would follow / stration still that even with a, for him, fundamentally unsatisfactory subject Fellini just could not make a film that was for a moment boring or dead.

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A Revision of the Atomic Weight of Lead (1914)(en)(7s) by Baxter G.P., Grover F.L.

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