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Giulietta Masina, Anthony Quinn, Richard Basehart, Al Silvani, Marcella Rovena ... see more see more... , Livia Venturini

Acclaimed Italian filmmaker Federico Fellini drew on his own circus background for the 1954 classic La Strada. Set in a seedy travelling carnival, this symbolism-laden drama revolves around brutish st... read more read more...rongman Zampano (Anthony Quinn), his simple and servile girlfriend Gelsomina (Giulietta Masina, Fellini's wife), and clown/aerialist Matto (Richard Basehart). Appalled at Zampano's insensitive treatment of Gelsomina, the gentle-natured Matto invites her to run off with him; but Gelsomina, like a faithful pet, refuses to leave the strong man's side. Eventually Zampano's volcanic temper erupts once too often, leading to tragic consequences. Written by Fellini and Tullio Pinelli and scored by Nino Rota, La Strada was the winner of the first official Academy Award for Best Foreign-Language Film, awarded in 1956. ~ Hal Erickson, Rovi

Flixster Users

93% liked it

20,268 ratings

Critics

97% liked it

31 critics

DVD Release Date: November 18, 2003

Stats: 1,129 reviews

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Flixster Reviews (1,129)


  • June 19, 2011
    If you can ignore a few major plot-holes herein, I guess you'll enjoy the tragic journey (which hardly leads anywhere) of a girl in this classic movie.
  • May 8, 2011
    My first Fellini movie, but definitely not my last. La Strada is an amazing film. At times it is very fun to watch and at others it is almost painful. It brings about an array of emotions that change throughout the entire movie.
  • November 11, 2010
    master showman and producer dino de laurentiis died today aged 91. he produced over 160 films including la strada and nights of cabiria (both of which won oscars for best foreign film), blue velvet, manhunter, evil dead II and army of darkness, barbarella and danger: diabolik as... read more well as many notorious flops. quite a career. rip
  • October 20, 2010
    La Strada tells the age old story of the frailty of innocents, 'The Road' can be a long and tough journey. It is a beautiful film, I love 8 1/2 and regard it as Fellini's best but I would always watch this one over the other every time. Fellini can take half of the credit though ... read morein my mind as it is Giulietta Masina who really makes La Strada the masterpiece that it is, she's worth 1000 Marilyn Monroe's in my opinion (even though she has a face like an Artichoke!)
  • January 31, 2010
    An array of feelings fill me. I don't know wether to like or dislike this film. I would say I would watch it again so I may need to side more on the liking end of it. Masina was, for lack of a better word, BRILLIANT! She can take the stage and tell you everything you need to ... read moreknow without speaking a word. FANTASTIC!
  • January 25, 2010
    the story seems so simple until you realize that by the end the film has taken you through a gauntlet of emotions. all the acting was good, but masina steals the show with great timing and perfect facial expressions for every scene, emotion, and thought. its like you can read h... read moreer characters mind through her face. the film almost feels like two halves of a film but in a good way, as we see the ups and downs of road life for circus folk, and we get to take it in with excellent cinematography and some excellent lanscapes. a wonderful film.
  • November 9, 2009
    In La strada, Fellini shows the contrasting attitudes of lifestyles: between the joyless and mirthful, between the brutish and the meek, and between husband and wife. Anthony Quinn plays the great Zampanò, a one-trick circus strongman who travels across the countryside in a make... read moreshift, motorcycle-pulled gypsy wagon. His first assistant, Rosa, has died, so he travels back to her family to buy (yes, buy) another assistant, her sister, Gelsomina. Her tearful mother explains that Gelsomina is slow and weird, and she most certainly is, but she's also a charmer (although her charms are largely ignored by the humorless Zampanò). The two set off on a tour, traveling from village to village. Zampanò treats Gelsomina like a dog, even as she tries desperately to relate to him on some level. Things only get worse when they join a traveling circus. Il Matto, the highwire act and circus fool, takes great pleasure in teasing and torturing Zampanò. Il Matto is a multi-talented and gifted circus performer who sees Zampanò for the great, lumbering humorless bore that he is, and rides him mercilessly (he admits he cannot help himself, that he's driven to mock Zampanò, even at his own peril). Gelsomina seems a cross between Harpo Marx and Lucille Ball, all exaggerated facial expressions and wide eyes (the term "Chaplin-esqe" has also been used to describe her). Anthony Quinn's Zampanò is the beastlike man, slow-witted and perpetually angry, and yet the entire world seemingly revolves around him, or at least answers to his beck and call. Il Matto is just as mean to Gelsomina as Zampanò is, but his viciousness is less potent. Both Zampanò and Il Matto act out in impotence, Il Matto because he feels physically inferior and Zampanò because he feels mentally inferior. They're two opposing forces who must always fight one another. The film's title translates into "the road" in english, and La strada is definitely a journey. It represents the journey into adulthood where we destroy our childish things. We can't run away from life forever, eventually the road comes to an end.
  • August 23, 2009
    The best I've seen by Fellini
  • August 2, 2009
    I'm sure I'll incur the wrath of hard-core Fellini fans for saying this but, here goes, La Strada is my all-time favorite Federico Fellini film. (Yes, it's true - I like it even more than I like 8 1/2).

    Even though Anthony Quinn and Richard Basehart are fantastic ... read morein this film, every scene is stolen by the incredible Giulietta Masina. She's naive, sexy, comic and tragic all at the same time. Her dialog is limited and yet she says so much with her expressions and gestures.

    Giulietta Masina- La Strada


    Masina's persona is a little Debbie Reynolds, a little Shirley MacLaine, and a touch of Charlie Chaplin. She's completely loveable and absolutely perfect for this role.
  • March 31, 2009
    No question, this is my favorite Fellini. Masina is always good, but she truly shines in this one. I've seen terms as unkind as "retarded" and as kind -- if you can call it kind -- as "simple" used to describe her character here. Flixsters, I'm here to argue that her character... read more is neither retarded nor simple, and is certainly not "addle-brained."

    Up to the point of the murder, Gelsomina is what I would call innocent. The word "sophisticated" used to mean something quite unlike what it means today. Nowadays, when we say someone is sophisticated, we are generally being complimentary. We mean that this person is quite worldly wise. Originally, however, if you were labeled sophisticated, the connotation was not flattering. If you were called sophisticated, it meant that you were viewed as, roughly, being "ruined by the world." Your innocence was far behind you. You were damaged goods, and irreparably so.

    So up to the point where Quinn murders Basehart, Gelsomina is innocent in the ways of the world, lacking in life experiences which disabuse us of our innocence. But from that point on she is ruined by the real world, sophisticated in the truest sense of the word, irreparably damaged by that experience. It is her psychic state post-murder that might -- might -- be termed "addled."

    Quinn is great in this one, and Basehart is astonishing. If you only ever see one Fellini, flixsters, this is the one I'd strongly recommend.

Critic Reviews


Dave Kehr
April 27, 2009
Dave Kehr, Chicago Reader

Early mush from the master, Federico Fellini. Full Review

Geoff Andrew
February 9, 2006
Geoff Andrew, Time Out

Symbols, metaphors, and larger-than-life performances hold sway, and moments of bizarre if inconsequential charm abound. Full Review

A.H. Weiler
May 20, 2003
A.H. Weiler, New York Times

Signor Fellini has used his small cast, and, equally important, his camera, with the unmistakable touch of an artist. His vignettes fill his movie with beauty, sadness, humor and understanding. Full Review

Rita Kempley
January 1, 2000
Rita Kempley, Washington Post

As French critic Andre Bazin pointed out, 'The Fellini character does not evolve; he ripens.' And so do his movies. Full Review

Roger Ebert
January 1, 2000
Roger Ebert, Chicago Sun-Times

La Strada is the first film that can be called entirely 'Felliniesque.' Full Review

Jay Antani
August 17, 2010
Jay Antani, Cinema Writer

The two lead performers...are marvelous and the imagery is gorgeous, with Fellini's precision cutting and dramatic lighting pointing the way to 8 1/2 Full Review

Dennis Schwartz
August 7, 2008
Dennis Schwartz, Ozus' World Movie Reviews

It's the film that first brought international acclaim to Fellini. Full Review

Emanuel Levy
January 24, 2007
Emanuel Levy, EmanuelLevy.Com

Fellini once described this masterpiece, which marks his break with the strictures of neo-realism, as "the complete catalogue of my mythical world;" It could be seen as another, poetic version of Beau... Full Review

David Parkinson
July 6, 2005
David Parkinson, Empire Magazine

Whimsical but gritty. Full Review

Jeffrey M. Anderson
June 13, 2005
Jeffrey M. Anderson, Combustible Celluloid

A landmark in Federico Fellini's career. Full Review

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