When we're all substituting our tequilas and limes

[sovay]

I just finished watching La dolce vita (1960). All my life, people have told me how beautiful Marcello Mastroianni was; I never saw him in anything, so I had no basis for comparison. He died in 1996, but I don't remember photographs. I saw his daughter in Un conte de Noël and she was very beautiful, but her mother is Catherine Deneuve—she got some of the best genetics going in 1972. So what do you know? Marcello Mastroianni was beautiful, and not in any of the ways I expected. I can't find a good image online; all anyone seems to post from this movie is Anita Ekberg in the Fontana di Trevi. But he doesn't have a boyish face, a sleek one, a classically structured face; at least as Marcello Rubini, the helplessly self-destructive journalist, he's heavy-lidded, long-mouthed, with a rakish shock of hair that blows back silver at the temples, brazenly spoken when he knows his lines, but he looks away too much when he doesn't, a little puckish and a little flinching, and he appears most conventionally handsome from the angles that suit him least. By profession he's an intrusion on other people's lives, but he projects the wayward wistfulness of a pierrot caught up and dropped by each harlequin whirl, a marionette who is aware that he cannot summon the strength to snap his strings. (Which does not mean he's harmless: as desperately as he wants something more in his life than hangovers and camera flash, he also hurts, very badly, the character who does love him. She's a little rocky herself, but she's more stable than his spinning weathercock. At least she can say what she wants.) Women don't fall into his arms. Sometimes he wakes up in their beds, but more often they snub him in nightclubs. I didn't expect that from an international sex symbol. It makes me want to see more of his films. Also, more Fellini. With Le notti di Cabiria (1957), this makes two for two. His movies are worlds.

Comments

[poliphilo.livejournal.com]

La Dolce Vita is my favourite Fellini. He had a wonderful run through the 50s and early 60s, then ran out of things to say and got sloppy and self-indulgent. Mastroianni is arguably the most beautiful man ever to appear in the movies.

[jtglover.livejournal.com]

I have the sneaking suspicion that you might enjoy his Satyricon, or at least find it interesting. I saw it fifteen or so years ago, and I remember it as being a very over-the-top ("sloppy and self-indulgent," some might say) sort of thing, not so much with the satire. Still -- interesting.

[poliphilo.livejournal.com]

Satyricon is on the way to being sloppy and self-indulgent. It's saved by its beauty and intensity.

[jtglover.livejournal.com]

The thing I remember best about it is the colors: deeply oversaturated in the style that Julie Taymor would use years later for her Titus Andronicus (another over-the-top-but-striking film). Plot-wise, I remember the banquet scene, and thought it did a fair job capturing the overly sumptuous freedman thing.

[time-shark.livejournal.com]

You must, must, must see 8½ and Juliette of the Spirits, which complete a sort of trilogy that starts with La dolce vita. Mastroianni is the star of 8½. I also am vividly fond of Amarcord and The Clowns.

[ap-aelfwine.livejournal.com]

I've nothing useful to say, but I love your descriptions of people and films.

[sovay]

He had a wonderful run through the 50s and early 60s, then ran out of things to say and got sloppy and self-indulgent.

La strada is next. I saw five minutes of it once in the window of a TV store with the sound turned off: I was mesmerized.

Mastroianni is arguably the most beautiful man ever to appear in the movies.

I stand by my estimation of Peter O'Toole and Omar Sharif in Lawrence of Arabia. But I have no reservations whatsoever about adding Mastroianni to the pantheon.

[sovay]

I have the sneaking suspicion that you might enjoy his Satyricon, or at least find it interesting.

I read Petronius; I probably have a moral obligation to.

[sovay]

deeply oversaturated in the style that Julie Taymor would use years later for her Titus Andronicus (another over-the-top-but-striking film).

I love Julie Taymor's Titus. I saw it on a double bill with Alex Cox's Revengers Tragedy (2002). Best double feature ever.

[sovay]

You must, must, must see 8½ and Juliette of the Spirits, which complete a sort of trilogy that starts with La dolce vita.

So noted!

I also am vividly fond of Amarcord and The Clowns.

Why?

[sovay]

I've nothing useful to say, but I love your descriptions of people and films.

Thank you. I hope they measure up when you see them in person.

[jtglover.livejournal.com]

Oh my, that does sound lovely. I'd never heard of the Cox movie. Christopher Eccleston in dystopian future revenge tragedy? It's now in my Netflix queue...

[kenjari.livejournal.com]

Yes, Omar Sharif in LoA. There's something about him in that movie that reminds me a bit of my husband, even though the two of them don't really look alike.

[sovay]

There's something about him in that movie that reminds me a bit of my husband, even though the two of them don't really look alike.

That is a wonderful thing to be able to say about someone.

[ap-aelfwine.livejournal.com]

Thank you. I hope they measure up when you see them in person.

You're welcome. And we'll see.