Ristorante La Dolce Vita, Birklar, Germany. likes. Neue Öffnungszeiten Mo,Di - Ruhetag Mi-So von Das Restaurant „La Dolce Vita“ in Recklinghausen heisst Sie herzlich Willkommen. Unsere italienische Leidenschaft wird Sie begeistern und kulinarisch. La Dolce Vienna. - the most Italian way to see Vienna!. Please choose your preferred language! Bitte wählen Sie Ihre bevorzugte Sprache aus!
Das süße LebenYou can order takeaway | Sankt Pölten - Direkt im Herzen von St. Pölten! Herzlich Willkommen im Restaurant "La Dolce Vita". Wenn etwas kunstvoll und mit. La Dolce Vienna. - the most Italian way to see Vienna!. Please choose your preferred language! Bitte wählen Sie Ihre bevorzugte Sprache aus! Das süße Leben (Originaltitel: La dolce vita) ist ein Schwarzweißfilm von Federico Fellini aus dem Jahr In den Hauptrollen sind Marcello Mastroianni.
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Check out our gallery. See the full gallery. Marcello Rubini played by Marcello Mastroianni is a writer and journalist, the worst kind of journalist - a tabloid journalist, or paparazzo.
His job involves him trying to catch celebrities in compromising or embarrassing situations. He tends to get quite close to his subject, especially when they're beautiful women.
Two such subjects are a local heiress, Maddalena Anouk Aimee , and a Swedish superstar-actress, Sylvia Anita Ekberg , both of whom he has affairs with.
This is despite being engaged to Emma Yvonne Furneaux , a rather clingy, insecure, nagging, melodramatic woman. Despite his extravagant, pleasure-filled lifestyle, he is wondering if maybe a simpler life wouldn't be better.
Written by grantss. To appreciate this film you need to appreciate film. I'm saddened that so many have commented negatively on it and cast dispersions upon those who enjoyed it.
It is not Titanic, or Armageddon. It is a long film that attempts to show more than a hackneyed plot about some simple people. It is a beautiful exploration about life that does not preach or try to tell you what to think.
I understand why many are frustrated with it. It seems to go nowhere at times, but thats the point. And most importantly the scenery on this trip to nowhere is beautiful.
So, if you are the type that does not like to watch films that are art, do not watch this. Watch Coyote Ugly. It will entertain you. Go see something with a gun on the cover instead.
For those who like a challenge rather than simple escapism, this is a film that engages you. Different films for different people.
People seem very threatened when they don't like a film that is widely regarded as a classic. The reason is simple, it's not your kind of film.
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Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Peter's Square. His humiliating remark to her causes Sylvia to leave the group, eagerly followed by Marcello and his paparazzi colleagues.
Finding themselves alone, Marcello and Sylvia spend the rest of the evening in the alleys of Rome where they wade into the Trevi Fountain.
They drive back to Sylvia's hotel to find an enraged Robert waiting for her in his car. Robert slaps Sylvia, orders her to go to bed, and then assaults Marcello, who takes it in his stride.
Steiner shows off his book of Sanskrit grammar. The two go up to play the organ, offering up a jazz piece for the watching priest before playing Bach.
Although the Catholic Church is officially skeptical, a huge crowd of devotees and reporters gathers at the site. Emma prays to the Virgin Mary to be given sole possession of Marcello's heart.
Blindly following the two children from corner to corner in a downpour, the crowd tears a small tree apart for its branches and leaves said to have sheltered the Madonna.
An American woman, whose poetry Marcello has read and admired, recommends that Marcello avoid the "prisons" of commitment: "Stay free, available, like me.
Never get married. Never choose. Even in love, it's better to be chosen. Outside on the terrace, Marcello confesses to Steiner his admiration for all he stands for, but Steiner admits he is torn between the security that a materialistic life affords and his longing for a more spiritual albeit insecure way of life.
Steiner philosophizes about the need for love in the world and fears what his children may grow up to face one day. He asks her if she has a boyfriend, then describes her as an angel in Umbrian paintings.
With Paparazzo, they go to the "Cha-Cha" Club where Marcello introduces his father to Fanny, a beautiful dancer and one of his past girlfriends he had promised to get her picture in the paper, but failed to do it.
Fanny takes a liking to his father. Marcello tells Paparazzo that as a child he had never seen much of his father, who would spend weeks away from home.
Fanny invites Marcello's father back to her flat, and two other dancers invite the two younger men to go with them. Marcello leaves the others when they get to the dancers' neighborhood.
Fanny comes out of her house, upset that Marcello's father has become ill. Marcello wants him to stay with him in Rome so they can get to know each other, but his father, weakened, wants to go home, and gets in a taxi to catch the first train to Cesena.
He leaves Marcello forlorn, on the street, watching the taxi leave. There is already a party long in progress, and the party-goers are bleary-eyed and intoxicated.
By chance, Marcello meets Maddalena again. The two of them explore a suite of ruins annexed to the castle.
Maddalena seats Marcello in a vast room and then closets herself in another room connected by an echo chamber. As a disembodied voice, Maddalena asks him to marry her; Marcello professes his love for her, avoiding answering her proposal.
Another man kisses and embraces Maddalena, who loses interest in Marcello. He rejoins the group, and eventually spends the night with Jane, an American artist and heiress.
Emma starts an argument by professing her love, and tries to get out of the car; Marcello pleads with her not to get out.
Emma says that Marcello will never find another woman who loves him the way she does. Marcello becomes enraged, telling her that he cannot live with her smothering, maternal love.
He now wants her to get out of the car, but she refuses. With some violence a bite from her and a slap from him , he throws her out of the car and drives off, leaving her alone on a deserted road at night.
Hours later, Emma hears his car returning as she picks flowers by the roadside. She gets into the car with neither of them saying a word.
He rushes to the Steiners' apartment and learns that Steiner has killed his two children and himself. Many of the men are homosexual.
Riccardo shows up at the house and tells the partiers to leave. The drunken Marcello attempts to provoke the other partygoers into an orgy. However, their inebriation causes the party to descend into mayhem with Marcello riding a young woman crawling on her hands and knees and throwing pillow feathers around the room.
He signals his inability to understand what she is saying or interpret her gestures. He shrugs and returns to the partygoers; one of the women joins him and they hold hands as they walk away from the beach.
In a long final close-up, Paola waves to Marcello then stands watching him with an enigmatic smile. In various interviews, Fellini said that the film's initial inspiration was the fashionable ladies' sack dress because of what the dress could hide beneath it.
Credit for the creation of Steiner, the intellectual who commits suicide after shooting his two children, goes to co-screenwriter Tullio Pinelli.
Having gone to school with Italian novelist Cesare Pavese , Pinelli had closely followed the writer's career and felt that his over-intellectualism had become emotionally sterile, leading to his suicide in a Turin hotel in Set designer Piero Gherardi created over eighty locations, including the Via Veneto , the dome of Saint Peter's with the staircase leading up to it, and various nightclubs.
Some of the servants, waiters, and guests were played by real aristocrats. Fellini combined constructed sets with location shots, depending on script requirements—a real location often "gave birth to the modified scene and, consequently, the newly constructed set.
Fellini scrapped a major sequence that would have involved the relationship of Marcello with Dolores, an older writer living in a tower, to be played by s Academy Award -winning actress Luise Rainer.
It was only after the actor "polished off a bottle of vodka" and "was completely pissed" that Fellini could shoot the scene. The character of Paparazzo, the news photographer Walter Santesso , was inspired by photojournalist Tazio Secchiaroli  and is the origin of the word paparazzi , used in many languages to describe intrusive photographers.
Ennio Flaiano , the film's co-screenwriter and creator of Paparazzo, reports that he took the name from a character in a novel by George Gissing.
Marcello is a journalist in Rome during the late s who covers tabloid news of movie stars, religious visions and the self-indulgent aristocracy while searching for a more meaningful way of life.
Marcello faces the existential struggle of having to choose between two lives, depicted by journalism and literature. Marcello leads a lifestyle of excess, fame and pleasure amongst Rome's thriving popular culture, depicting the confusion and frequency with which Marcello gets distracted by women and power.
A more sensitive Marcello aspires to become a writer, of leading an intellectual life amongst the elites, the poets, writers and philosophers of the time.
Marcello eventually chooses neither journalism, nor literature. Thematically he opted for the life of excess and popularity by officially becoming a publicity agent.
Journalist Marcello and a photographer named Paparazzo follow in a second helicopter. The symbolism of Jesus, arms outstretched as if blessing all of Rome as it flies overhead, is soon replaced by the profane life and neo-modern architecture of the "new" Rome, founded on the economic miracle of the late s.
The delivery of the statue is the first of many scenes placing religious icons in the midst of characters demonstrating their "modern" morality, influenced by the booming economy and the emerging mass-consumer life.
The most common interpretation of the film is a mosaic, its parts linked by the protagonist, Marcello Rubini, a journalist. Interrupting the seven episodes is the restaurant sequence with the angelic Paola; they are framed by a prologue Jesus over Rome and epilogue the monster fish giving the film its innovative and symmetrically symbolic structure.
Other critics disagree, Peter Bondanella argues that "any critic of La Dolce Vita not mesmerized by the magic number seven will find it almost impossible to organize the numerous sequences on a strictly numerological basis".
The critic Robert Richardson suggests that the originality of La Dolce Vita lies in a new form of film narrative that mines "an aesthetic of disparity".
The encounters build up a cumulative impression on the viewer that finds resolution in an "overpowering sense of the disparity between what life has been or could be, and what it actually is".
In a device used earlier in his films, Fellini orders the disparate succession of sequences as movements from evening to dawn. Also employed as an ordering device is the image of a downward spiral that Marcello sets in motion when descending the first of several staircases including ladders that open and close episodes.
The upshot is that the film's aesthetic form, rather than its content, embodies the theme of Rome as a moral wasteland. Writing for L'Espresso , the Italian novelist Alberto Moravia highlighted the film's variations in tone,.
Highly expressive throughout, Fellini seems to change the tone according to the subject matter of each episode, ranging from expressionist caricature to pure neo-realism.
In general, the tendency to caricature is greater the more severe the film's moral judgement although this is never totally contemptuous, there being always a touch of complacence and participation, as in the final orgy scene or the episode at the aristocrats' castle outside Rome, the latter being particularly effective for its descriptive acuteness and narrative rhythm.
Though not as great as Chaplin , Eisenstein or Mizoguchi , Fellini is unquestionably an author rather than a director. The film is therefore his and his alone As each new episode begins, the camera is already in motion using complicated movements.
Frequently, however, these sinuous movements are brutally punctuated by a very simple documentary shot, like a quotation written in everyday language.
In fact, the film has no proper structure: it is a succession of cinematic moments, some more convincing than others… In the face of criticism, La Dolce Vita disintegrates, leaving behind little more than a sequence of events with no common denominator linking them into a meaningful whole".
He has an uncanny eye for finding the offbeat and grotesque incident, the gross and bizarre occurrence that exposes a glaring irony.
He has, too, a splendid sense of balance and a deliciously sardonic wit that not only guided his cameras but also affected the writing of the script.
In sum, it is an awesome picture, licentious in content but moral and vastly sophisticated in its attitude and what it says. Movies do not change, but their viewers do.He shrugs and returns to the partygoers; one of the women joins him and they hold hands as they walk away from Online Casino Warrior beach. Thematically he opted for the life of excess and popularity by officially becoming a publicity agent. Emma starts an argument by professing her love, and tries to get out of the car; Marcello pleads with her not to get out. In general, the tendency to caricature is greater Durak Spiel more severe the film's moral judgement although this is never totally contemptuous, there being always a touch of complacence and participation, as in the final orgy scene or the episode at the aristocrats' castle outside Rome, the latter being particularly effective for its descriptive acuteness and narrative rhythm. From Classic Slot Machine. Fava and Vigano, p. Different films for different people. Never choose. Retrieved 15 January Archived from the original on Party Gameing May Another man La Dolce and embraces Maddalena, who loses interest in Marcello.