Five young people live a life of wasting time every day.
They have exiled themselves in this city, they are playboys, screenwriters, soprano singers, swinging men and melancholy youths, they live in the most lively and desolate parts of the city.
They held hands, sang wild songs, and ran over the street buried in the black when it was the quietest.
They were like the kids in "Trainspotting" in the 1990s, playing to the point of exhaustion and then weeping.
For them, the world is just an existence, and there is no such thing as beauty or struggle. In fact, they also have dreams. They hope that others will recognize their value, but escaping is already a kind of habit for them, and heavy life should not be a pain for them.
The main line of the story is very simple, the playboy Fasto impregnates Sandra, the sister of his good brother Morad, and gets married based on his sense of responsibility and the persuasion of the people around him. Fastow works at an antiques store, but is fired for trying to seduce the owner's wife. One day, Sandra learned that Fasto was taking a dancer to a cheap hotel for the night, so she ran away with the child the next day; the embarrassed Fasto felt the importance of Sandra for the first time. So she and her brother desperately searched for Sandra's whereabouts. Fasto, who finally found Sandra, was reprimanded by her father and begged Sandra's forgiveness. After seeing the two of them rehabilitated, Morad left without saying goodbye the next morning and embarked on his own journey.
Debauchery is not the purpose, but the method. The dreams they have are only dreams in the end. They finally choose to leave, but they castrate their dreams in the "sweet life", and they let their senses fully enjoy everything that comes to them. , they try to forget that it is absurd and powerless to go on like this.
In the end, the most melancholy and youngest Morad, who liked watching lightning and watching the stars, left, while his brothers were still sound asleep...
"We were all talking about leaving, but only one really left without saying a word"
At the end of the movie, the camera is aimed at Morad's eyes, one of Fellini's most affectionate shots, so indifferent and sad, it has never appeared in Fellini's world since then.
Because this is his story.
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