"La Strada" - Film Review

La Strada exists in that feverish place between reality and surrealism. It’s an Italian Neorealist film by writer-director Federico Fellini, but, though it tells a very grounded, very realistic story, there’s a level of lyricism to it that makes it almost poetic at times.

“La Strada” translates from Italian to “The Road”, the location we spend the majority of the film on. The story takes us to one town, seashore, and circus after another, and observes the lives of the two protagonists, brute Zampano (Anthony Quinn) and good hearted Gelsomina (Giulietta Masina), and the people they come in contact with.  

Desperate and impoverished, Gelsomina’s mother sells her into the employ of Zampano. Zampano is a strongman who goes around performing feats of strength for people he meets along the way. 

Gelsomina cares for Zampano, may be even loves him, but Zampano is no good for anyone. He’s a drunken lout who hits on other women and ignores Gelsomina’s kindness. 

Even after raping and beating her, Gelsomina can’t shake her affection for him. “If I don’t stay with him, who will?” she asks herself. 

We want her to escape this terrible situation she’s in, but every time she’s given an out, she just won’t take it. And it’s heartbreaking. 

Gelsomina, in the hands of Masina, is adorably wide-eyed and sincere. When she first leaves home, she’s just happy that she’s going to finally get to see other parts of the world. 

When that unequaled, exuberant smile begins to fade… well, a little bit of hope starts to dissipate from the world with it.

Nino Rota’s score is wistful yet melancholy. The tune feels like carnival theme, which is oddly fitting, both for the film’s ties to the circus as well as Gelsomina’s childlike nature.  

The film lends a level of compassion and sympathy in its portrayal of the people that inhabit it. Even Zampano is allowed to be more than a one note character, eventually finding redemption.

Beautifully shot, the simple tale is filled with vignettes that are funny, moving, and sad.

This is one of Federico Fellini's best early works that looks forward to his more fantastical later films; it's also a great example of Italian Neorealism.  

Grade: A-