Fellini's innocence, Reivew on The Sweet Life

Somehow, Fellini can't speak profoundly, and don't define Fellini's films with ideas. Films are different from novels, novels must have a central direction, but films are fluid, like a tide, venting thoughts in minutes. However, neither the literary work nor the film's established parts are doomed to his greatness. The more accurate an author provides, and the clearer the subject he wants to express, the farther a work is from greatness. The essence of a literary work lies in the unwritten part, and the essence of a film lies in the pauses in the changing scenes.
The bulk of Fellini's film is nostalgic rather than critical. The sweet life is full of individual sparse emotions. The sensual life is more of an instant intoxication, an instant detachment. Such as the famous play in the hot spring. Therefore, from this perspective, Fellini's greatness lies in the sadness in his heart, the fragments of the flowing stream of consciousness, and the moments of life that he has captured while enjoying the time and being isolated from it.
Marcelo in the film has a certain neutrality, and his personality strays from the edge of the film, ambiguous. It clearly shows the wandering of the director's inner projection, the contradiction between spirit and body, rationality and indulgence.
Overall, if you want to know Fellini, the Dolce Vita is a must-see masterpiece

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