"It is Quinn's performance that holds up best, because it is the simplest. Zampano is not much more intelligent than Gelsomina. Life has made him a brute and an outcast, with one dumb trick (breaking a chain by expanding his chest muscles), and a memorized line of patter that was perhaps supplied to him by a circus owner years before. His tragedy is that he loves Gelsomina and does not know it, and that is the central tragedy for many of Fellini's characters: They are always turning away from the warmth and safety of those who understand them, to seek restlessly in the barren world."
Tuesday, December 6, 2011
Blog Response--La Strada
Roger Ebert says:
"It is Quinn's performance that holds up best, because it is the simplest. Zampano is not much more intelligent than Gelsomina. Life has made him a brute and an outcast, with one dumb trick (breaking a chain by expanding his chest muscles), and a memorized line of patter that was perhaps supplied to him by a circus owner years before. His tragedy is that he loves Gelsomina and does not know it, and that is the central tragedy for many of Fellini's characters: They are always turning away from the warmth and safety of those who understand them, to seek restlessly in the barren world."
Fellini has given us a film about outcasts. How do the roles of these outcasts reflect on each other? Do you see any signs of redemption? Choose a character and examine how that character redeems him or herself and how that character is presented as an outcast by society. Be mindful of all of Fellini's symbolism! Do this in at least 2 hearty paragraphs.
"It is Quinn's performance that holds up best, because it is the simplest. Zampano is not much more intelligent than Gelsomina. Life has made him a brute and an outcast, with one dumb trick (breaking a chain by expanding his chest muscles), and a memorized line of patter that was perhaps supplied to him by a circus owner years before. His tragedy is that he loves Gelsomina and does not know it, and that is the central tragedy for many of Fellini's characters: They are always turning away from the warmth and safety of those who understand them, to seek restlessly in the barren world."
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In many of Fellini’s films, notably “8 ½” and “La dolce vita”, the director presents the audience with a character who is not on the same wavelength as anyone else in society. Many times these characters are artists and all the main characters in “La strada” – whether the audience views this as a stretch of the characters’ ego or no – claim to be “artists”, so it makes sense that Fellini does not give us everyday workers. The audience is still able to relate with them, but Fellini is more stylistic in his choices over characterization than his neorealism counterparts. I completely agree with Ebert that “it is Quinn's performance that holds up best”, but I disagree that it is the “simplest”. The reason that Zampano is the most relatable of all the characters, besides the fact that Anthony Quinn is a fantastic actor, is that Zampano is the most human of all the characters. Gelsomina with her wide eyes and Chaplin-esque walk is funny and sweet as the lead actress, but also very naïve; and though the audience may like the Fool more than Zampano with his words of wisdom and innocence, it is the flawed, drunken, and guilt ridden Zampano that the audience is able to connect with most. . Zampano cannot connect or communicate without brute force, and so he cannot fully connect with society. When Zampano kills the Fool the audience may hate him, but his brutality and fear – quite human traits – are what causes the stir in the audience in the first place. The film is about redemption, but it is not about the life of Gelsomina, and once the film ends, the viewer realizes the redemption is the change in Zampano because of the love, and loss of love due to his own flaws. There is nothing simple about his performance, in fact, it is the most complex. Both Gelsomina and the Fool are static characters, neither changing from the beginning to the end. They could even be labeled as clichés. But Quinn must portray a truly damaged (and often unlikeable) human being, which is much more difficult than playing the fool.
ReplyDeleteThe film comes full circle: it opens with Zampano, who at this point has no regard for any other living being, buying Gelsomina to be his assistant; it ends with a drunken Zampano standing on the beach, overcome with grief that he has (indirectly) killed the only person that he loved. Fellini makes Gelsomina and the Fool more colorful and surreal, but Zampano is by far the closest character to the neorealism characters. Zampano’s lack of expression expresses far more than the over-the-top laughter of the fool, and the acts of Gelsomina are reflected from the view point of Zampano. As Gelsomina marches around the nunnery playing her new, more intellectual, sounding trumpet the audience watches in parallel awe with Zampano. If it is this moment that she wins over the heart of the audience it is only because it is the brief expression of feelings that Zampano has on his face, which reflects back at the audience. If Gelsomina is made to represent innocence then her death is symbolic of the death of innocence, and likewise the Fool can be made to represent hope (or what little hope exists in Gelsomina’s life) and his death is the death of hope. Once the Fool is gone, Gelsomina is unable to function, and upon realizing that Gelsomina loved the Fool and cannot live with him dead, Zampano leaves her. He is the cause of both deaths – with the Fool it is murder and with Gelsomina it is indirect – which make him symbolize brutality, crushing both. However, it is his own strength that is his weakness, the fatal flaw that leads to his demise. Unlike the other two who fall victim to society and violence, Zampano is self-destructive by killing what he loves most. His feeling of remorse at the conclusion of the film, the transformation that he has undergone, from cold hearted to openly broken, is what makes “La strada” such a powerful film.
In his film “La Strada”, Federico Fellini presents a number of outcasts as central characters. One of the most prominent of these outcasts is cruel, brutish Zampano, the circus performer. Zampano appears to have little morals; he is promiscuous and steals from the nuns who offer him shelter from a storm. However, his character can be best observed through his encounters with Gelsomina. While they are interacting or traveling together, there is very little indication that Zampano values Gelsomina as anything other than an investment. When Il Matto attempts to use Gelsomina in his act, Zampano is instantly possessive and forbids her from interacting with him. Through the film, Fellini repeatedly uses symbolism to illustrate the relationships between characters. Fellini’s symbolism is extremely indicative in the scene in which Zampano leaves Gelsomina. As Gelsomina rests after finally leaving the back of the motorcycle she sleepily reminds Zampano that the fire is about to go out. The fire symbolizes the relationship between Zampano and Gelsomina. As the fire dwindles, Zampano makes the decision to abandon Gelsomina. Gelsomina’s sleeping body is in the foreground of the shot and is ominously bathed in the shadow of the stone wall behind her; her body is in the ultimate position of vulnerability and the viewer sympathizes with her. Yet, Zampano still decides to abandon her. He attempts to make up for his decision by tenderly covering her body with blankets and leaves her with merely some money and the trumpet she adored. Zampano cleans up the campsite, allowing the fire to burn out, and with the end of the fire comes the end of his relationship with Gelsomina.
ReplyDeleteYet, there are instances where the audience is sympathetic to Zampano. It is evident that Zampano is not accustomed to dealing with humans who are as good-hearted as Gelsomina. Prior to leaving her, Zampano is bewildered by Gelsomina’s depression following the death of the fool. It appears that he cannot fathom a person having any sort of deep attachment to another. Fellini conveys this by showing Zampano’s contemplations or reactions to Gelsomina in medium shots of Zampano. Zampano appears genuinely confused in each shot, provoking the viewer’s sympathies to an extent. Finally, at the end of the movie it appears that Zampano is truly regretful of his abandonment of Gelsomina. He drunkenly attempts to find redemption as he wades into the Mediterranean Sea, and finding none, he collapses in tears on the sand and the camera gloomily dollies away.
1954 “La Strada,” directed by Federico Fellini, tells the story of a traveling performer, Zampano, and his simple minded sidekick, Gelsomina. Both characters have internal and external conflict, which relate to the general themes of the film. We are shown throughout the narrative, from Gelsomina’s impoverished upbringing, to Zampano’s abusive nature and disdain for society, that they are both missing something, and essentially have voids in their hearts. It is with this void that they realize that they need each other, simply because they have no one else. This tragic theme of loneliness is especially made clear when even after Zampano physically strikes Gelsomina, she still does what he asks of her. She is so in need of a companion, that even an abusive one, is better than none at all. The same thing goes for Zampano. He constantly struggles between whether he should listen to his heart, or his mind. As Ebert states; “His tragedy is that he loves Gelsomina and does not know it...”
ReplyDeleteRight from the beginning, Gelsomina is presented as an outcast by society. It is noticeable that her mother doesn’t regard her as the brightest or most beautiful of her daughters and that she is not treated as an equal. In the opening scene, as many high angles are used to look down upon Gelsomina, we get this notion right away. Her innocence seems to blind her from any raw sense of reality, leaving her ignorant and clueless as to what the world is really like. However, I find that Gelsomina redeems herself in a multitude of ways. Firstly, she finds Zampano, or rather, Zampano finds her, so she is no longer alone. Zampano gives her a sense of purpose, which is crucial for her psyche, and crucial for just about anyone going through life. Despite the fact that her tasks are small, she finds passion (for playing music) and importance within herself that she never saw before. Gelsomina’s growth is reflected through the way she plays the trumpet. At first, it symbolizes Zampano’s lack of faith in her, and her lack of talent. However, by the end, the trumpet represents the skill and potential that always lied within her, but that she never knew was there.
Leah Suleski said...
ReplyDeleteUndoubtedly, Federico Fellini’s “La Strada” is a story of outcasts as it follows two vagabonds working hand-to-mouth by performing ridiculous circus tricks, rather than relatable common folk as is typical of neorealistic films. However, through presentation, Fellini manages to draw empathy from his audiences regardless of the characters’ lifestyles and personalities. The characters also tend to influence or affect one another in significant ways. Take Zampano and Gelsomina for example. Although both are clearly unconventional and odd, Zampano persists in putting Gelsomina down, making her feel like an even more misplaced and strange young woman. We the audience can assume that Zampano’s actions only ease the feelings induced by society’s neglect. With this in consideration even the ill-tempered, violent, and unreasonable Zampano is pitiable, yet still, I argue unforgivable. Of course we also learn that Gelsomina had an equally substantial effect on Zampano by the conclusion of the film.
Fellini’s overarching symbolism within “La Strada” involves personified pieces of the mind, body and spirit. The Fool is of course the quick-witted and philosophical mind, Zampano the body, and Gelsomina the enduring and light-hearted free-spirit. Perhaps the most disgraceful instance is the body’s intentional abuses toward the spirit, or rather Zampano’s violent acts against Gelsomina. It is made apparent that Zampano has no intention of developing feelings for his sidekick and couldn’t care less about their relationship. She is considered an accessory to his simple and somewhat unimpressive act of breaking a chain by expanding his chest muscles. It is especially plain in comparison to the Fool’s hilarious and entertaining antics, like walking a tightrope stories high. This implicitly suggests that an active mind is far more important than physical strength. Zampano’s lack of rational thought almost provides him with the viewer’s sympathy, until of course he completely destroys the “mind” in killing the poor Fool. The spirit in Gelsomina consequently dies with him and with no clue as to how to react, Zampano heartlessly abandons her. Instead of redemption, I find that Zampano faces consequence as a result of his cruelty and carelessness. The final scene on the beach as he wades nostalgically into the Mediterranean Sea and collapses in regret is nothing but an example of the suffering he has inflicted on himself. Memories of Gelsomina haunt him endlessly as deserved.
Frederico Fellini’s “La Strada” is a look into the lives of two outcasts, who have been made so by the very society that is now audience to their struggles. Gelsomina, with her mental-handicap, is the most obvious example. However, Zampano embodies the typical circus performer, who can not join society and must instead entertain it. This has forced Zampano to be constantly on the road, never able to connect with anyone, especially not someone as “different” as Gelsomina. Gelsomina’s wide-eyed innocence and Zampano’s brutish cruelty only alienate one another further, leaving them outcasts despite their partnership. Zampano, who is used to his independence and scared of change, refuses to give in to Gelsomina throughout their journey. Yet by the conclusion, a transformation has indisputably taken place. Although the low-angle shots of his “chain-breaking” trick imply that his heart is strong, and built to live without emotion, it is clear at the film’s close that Zampano is not as strong as he thought himself to be, something that is a flaw in all of us.
ReplyDeleteIn leaving Gelsomina, Zampano literally “turns away from the warmth,” of both the fire and the closest thing he had to true companionship. Zampano truly does not know what he has, and how much he needs it, until he returns to his solitude. He is never able to assimilate back to his old life of being a lone outcast, as exemplified by his break down to tears at the end. This final shot is the only one in the entire film in which Zampano looks weak and remorseful, feelings that are intensified by the cold, dark setting. He realizes that he killed the only person he loved and must forever live with that regret, regret that will haunt him until he himself dies, alone. This shot thus serves as his ultimate redemption, for every viewer sympathizes with the heart-wrenching feeling of deep regret, for the things left unsaid, and the mistakes they’ve made. They see themselves in Zampano and are thus able to forgive him for his murder, while realizing that they do not want to end up like him: a message on human nature that is at the core of neo-realist films.
I have such smart IB Film students.
ReplyDeleteIn Federico Fellini's film, La Strada, Fellini attempts to convey the world from the prospective of an outcast, which causes him to create a film based around outcast. If you think about it, This film is based around a circus performer, which is considered to be the career of an outcast by society. The films two main characters, Gelsomina and Zampano, speak somewhat to the relationships that outcast share. Gelsomina conveys what it means to be true outcast from the world. When we are first introduced to Gelsomina, we can already tell that she isn't the brightest. Also, when we are first introduced to her, she was found walking along the beach, isolated from the rest of her family. Isolating one's self as well as refusing to interact with the rest of society is something that outcasts have been drawn to do. The scene where Gelsomina is left outside of a restaurant for an entire night, while Zampano runs off with some female, she is constantly offered assistance from many people in that area, but she refuses to take it. But when someone informs her of where Zampano is, she goes running to his location, convey that she feels that Zampano is the only person who understands her because he too is an outcast.
ReplyDeleteIn my opinion, Gelsomina does not really redeem herself, but Zampano indirectly killing her, directly causes Zampano to act like a brute. I also believe that Zampano never did actions to redeem himself, but in actuality, only faced consequences for his actions. In killing Gelsomina, he killed the only person he loved and technically, the only person he felt could relate to him. With the death of Gelsomina, he isolates himself from society more and more, causing his status as an outcast to rise due to his brutish ways. This symbolic stands for the human nature that is presented throughout the film.
In the film "La Strada" Federico Fellini portrays the different aspects of life through the eyes of poor outcasts. In many films the outcasts is an anti- hero and at some points in the film may recieve the sumpathy of the veiwers. In this film Zampano could be consdidered the anti- hero. While he is crude and savage his ignorance to life and inability to be understood by others allows the audience to feel sympathy for him. The audience understands that Gelsomina and Zampano love each other and that neither of them are awrae of the other's love. Zampano attempts to redeem himself for all of the pain he has cause Gelsomina, by taking care of her whne she is sick. However his inability to continue watching her sick and suffering reveals his true love for her. Ultimately however he fails when he leaves Gelsomina on the side of the road to potentially die. Fellini doesn't end the story there leaving a bad taste in the mouths of the viewers from Zampano. He continues the film the to show Zampano in a depressed state. When he hears the hum of the song Gelsomina used to sing he is reminded of her and his feelings are resurfaced and portrayed through his expression. The film ends with Zampano practicing his old trick with out a sidekick. The veiwer is left with sympathy in their hearts for Zampano.
ReplyDeleteGelsomina was also an outcast and she was very happy and impressionable. She needed to be needed and productive. When Zampano abused her she ran away and attemted to redeem herself and be independent. Gelsomina also ultimately failed when Zampano found her and forced her to come back with him. She lost when she became weak and sick and was left on the side of the road, then she eventually went insane and died. Fellini uses Zampno and Gelsomina's ignorace to potray a larger meaning. That ignorance is in fact not bliss and that allowing yourself to stay ignorant to certain situations can be really harmful.
Fellini’s film La Strada is a film that shows the lives of Zampano and Gelsomina. Both of these characters are portrayed as outcasts, but in a different light. In comparison to Gelsomina, Zampano has money because he is a traveling circus and collects money after his shows. He is still considered an outcast because this job as a circus performer is not a common job and doesn’t force you to work along side a lot of other people. He only really has to socially deal with his wives who are placed as assistants. The fact that he travels and lives on a motorcycle also shows his isolation from society. Then there’s Gelsomina who has never worked, prior to her getting bought by Zampano to become his new assistant. In the opening scene of the movie Gelsomina in the field by herself, in the camera frame by herself as well. This gives an immediate feeling from the audience that she is an outcast. Even though the two characters come from two different worlds, they come together and have a rough start, but end up coming together through the circus shows and falling in love.
ReplyDeleteThroughout the film, Zampano was not very nice to Gelsmina. He was supposed to be her “husband” but he showed no love or kindness to her during his or her first couple encounters. As time elapsed they began to come closer together and sadly Gelsmina becomes very ill. This is when I feel Zampano stepped up and redeemed himself from the way he treated her. Before I came to the conclusion of the film I wasn’t sure if they were in love or not. It wasn’t until the ending of the film when Zampano hears a women humming the same tune he remembered Gelsmina would hum. Also that the women who was humming the song tells Zampano that Gelsmina was living with her for a while, which indicates to me that she may have been trying to find Zampano. Then the very last scene with Zampano Performing one of his shows alone kind of makes the audience pity him even know he has done some wrong, you now feel bad for him because he is back to being lonely and alone: as the film completed a full cycle.