The film tells the story of five (emphasis on portraying three) young vagabonds who are idle all day long. The director focuses on their lives and exposes the personal crisis of each vagabond. The contrast between their external image and their internal situation breaks them down. The fantasy world of nothingness forces them to face up to their real faces and discover the cruelty of the real world.
Faust was originally a flirtatious figure who was obsessed with women. In the beauty pageant, because Sandra fainted and hinted that the audience was pregnant, he was flirting with women the last second. She lost the burden of family and marriage, but the director took off the mask of Faust mercilessly, making it compromise with reality step by step, forced to marry Sandra, failed to seduce the boss's wife and lost her job, the lady in the theater See you again but can't be tempted. These brought Faust back to his original form, and he who longed for love could only fall in love with one person. The original love master was just a spoiled bad boy.
Alberto (the chief in "The White Chief")'s self-examination is at a carnival ball. Alberto's feminine image is in stark contrast to his capable sister. At the ball, he dresses up in ladies' clothes and gets very drunk, the director Alberto's introspection is also represented by the shaky footage of the camera. The only source of income for the family is his sister, but she runs away with a married man. Alberto's situation is pitiful. Morado witnessed his tragic life. After the carnival dance, Alberto asked Mo. Rado: "Who are you, you are nobody, you are a small person!" The philosophical questioning also eased the director's severe criticism.
The Leopoldo story takes place in a vaudeville theater where reality and illusion are opposed. Leopoldo wrote empty and boring scripts for many years, but Natali, who was performing juggling one day, fell in love with his script. Leopoldo thought his talents were appreciated, but Natali was just an elderly gay The writer used the script as an excuse to lure him to the beach, and he gradually realized that the script was just a pretense for Natalie. Leopoldo, who had escaped, returned home, and he was distraught when he returned to reality.
The conflict between fantasy and reality is reflected in the three swingers, who are experiencing their own crisis. Their encounters were also witnessed by Morado, enabling him to draw lessons from them. At the end of the film, Morado also left here by car, and the boy Guido who met at the station made Morado think of his childhood. At this moment, he has become mature and decided to say goodbye to these friends. He also really realized that This group of friends refuses to give up their high-quality fantasies how meaningless in the real world. When the train starts, the camera cuts to the picture of friends, like a silent farewell. Morado is the first image in Fellini's films to introspect and liberate, abandoning the childishness of childhood. This is the way to survive in this world.
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