This one looks very bloated and clumsy, without the smoothness and empathy of the eight-and-a-half series. Basically, I think two words can be summed up: stacking, deliberate. If the costumes and scenes are fancy, this one is definitely Fellini's best, especially at the end, it transforms into a fantasy scene in just a few seconds, making people dazzling, and the room in the middle is also very strange in color, like vomit Like mixing things together. But looking at the whole, you will find that there is no plot or emotional extension. It is always the woman's worry about her husband's cheating, and the loneliness of her emotional life after confirming the cheating. Every image can be said to point to this center, and there is no necessary scene. are also added, and appear many times before and after, resulting in the female figure being rigid, monotonous, or all characters. In fact, behind these clutter is the tragic situation of Fellini's lack of imagination. He did not really feel life when he was creating, but just wanted to show his strange taste and make the absurd and eye-catching to the extreme. As a result, you have gone the wrong way in terms of expressive purpose. All arrangements seem to be full of brain holes, but in fact there is no imagination. It seems to be a large section of heart analysis, but in fact it always stays on the surface, seemingly illogical, but the actual deep level is completely based on a fixed thinking. It's like having hundreds of people grimacing at you at the same time, and their faces are ugly and constantly changing. They want to scare you, and you know they want to scare you, but you look at them calmly, your mind goes blank, and you don't even bother to ask them why they're making faces. Some people pointed out that Fellini did not know much about women here, far less than that of Rohmer, Antonioni, and even Rossellini. In fact, this is the reason. I don't think it's an exaggeration to call it a complete masturbation. Fellini's creative crisis in the mid-1960s was actually the reason for the shooting of the eight-and-a-half films, but the eight-and-a-half films turned rotten into a miraculous and subtly filled the vacancy of imagination with a vivid personal autobiography. It's a pity that his confusion is exposed. It is conceivable that for Fellini, who has done such an extreme scene, the evaluation must be polarized. Some people must strongly praise it as representing Fellini's madness to the greatest extent, and some people think it is his worst part. I belong to the latter. Today I watched four Fellini, Dance Country, Interviews, and Juliet all in the archive. Brings into the deepest interview without a doubt. Too much to see, need to slow down
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