La Dolce Vita

1960 Drama

In one of the most widely seen and acclaimed European movies of the 1960s, Federico Fellini featured Marcello Mastrioanni as gossip columnist Marcello Rubini. Having left his dreary provincial existence behind, Marcello wanders through an ultra-modern, ultra-sophisticated, ultra-decadent Rome. He yearns to write seriously, but his inconsequential newspaper pieces bring in more money, and he's too lazy to argue with this setup. He attaches himself to a bored socialite (Anouk Aimée), whose search for thrills brings them in contact with a bisexual prostitute. The next day, Marcello juggles a personal tragedy (the attempted suicide of his mistress (Yvonne Furneaux)) with the demands of his profession (an interview with none-too-deep film star Anita Ekberg). Throughout his adventures, Marcello's dreams, fantasies, and nightmares are mirrored by the hedonism around him. With a shrug, he concludes that, while his lifestyle is shallow and ultimately pointless, there's nothing he can do to change it and so he might as well enjoy it. Fellini's hallucinatory, circus-like depictions of modern life first earned the adjective "Felliniesque" in this celebrated movie, which also traded on the idea of Rome as a hotbed of sex and decadence. A huge worldwide success, La Dolce Vita won several awards, including a New York Film Critics CIrcle award for Best Foreign Film and the Palme d'Or at the Cannes Film Festival. more..

Director: Federico Fellini

Starring: Marcello Mastroianni, Anita Ekberg, Anouk Aimee, Yvonne Furneaux, Nadia Gray


  • A brilliantly conceived epic fable.

    Kevin Thomas - Los Angeles Times

    19 January 2013

  • The movie is made with boundless energy. Fellini stood here at the dividing point between the neorealism of his earlier films (like "La Strada") and the carnival visuals of his extravagant later ones ("Juliet of the Spirits," "Amarcord'').

    Roger Ebert - The Chicago Sun-Times

    19 January 2013

  • In this one masterpiece, Federico Fellini achieved the ideal balance -- between social observation and unconscious imagery, between artistic discipline and freedom, and between the neo-realism of 1950s Italian cinema and the orgiastic flights of his later work.

    Mick LaSalle - The San Francisco Chronicle

    19 January 2013

  • A brilliantly graphic estimation of a whole swath of society in sad decay and, eventually, a withering commentary upon the tragedy of the overcivilized. (Review of Original Release)

    - The New York Times

    19 January 2013

  • Freshly viewed, the movie's melancholy seems to fit uncannily well in the moment we find ourselves now. In the film there are mentions of nuclear annihilation and worries that heedless lust and wanton partying could bring Rome a second fall.

    Wesley Morris - The Boston Globe

    19 January 2013


  • Best Costume Design, Black-and-White

    Academy Awards (1962)

  • Best Film from any Source

    BAFTA Awards (1961)

  • Federico Fellini

    Cannes Film Festival (1960)

  • Best Director (Migliore Regista)

    David di Donatello Awards (1960)

  • Best Soundtrack Album or Recording or Score from Motion Picture or Television

    Grammy Awards (1962)