Watch Juliet Of The Spirits – Criterion Collection Movie Online
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Watch Juliet Of The Spirits – Criterion Collection Movie Online.
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Giulietta is a wealthy, mousy Roman housewife who lives on the margins of her fill supposed milieu. Dominated by her blooming, haughty mother (who can barely tolerate her) and her gigantic and glamorous sisters, patronized by her rich ding-a-ling friends mostly because of her sympathetic nature (but secretly held in contempt by them for her lack of beauty), Giulietta hides instead in her perfect house with her servants–the only people she can really call her friends–and in her fantasies of her marriage to her jetsetting husband, who seems never to be around. As Giulietta comes to suspect what everyone else has known for years–that he is cheating in her–she simultaneously begins to be visited by spirits who seem to have something to inform her. But as she learns more of her husband’s infidelities, and comes to request the emptiness of her beget life, Giulietta’s spirits seem less like trusty supernatural presences and more like manifestations of a descent into madness.
This is by no means Fellini’s “best” film, but it is the one most people reflect of when they consume the adjective “Felliniesque.” The fantasy sequences, the striking employ of color (particularly orange–this was his first color film, and he really went to town), the decadent Sixties fashions, and the aesthetic stauesque women who seem to have invaded from outer space: they’re all here, and many of the sequences in this film have been parodied again and again. Its imitations arrive for a suitable reason: the film is utterly absolutely unforgettable. There are sequences in it that are as gorgeous or as memorable as anything Fellini has ever done–particularly the sizable lawn party sequence, where Giulietta finally breaks down.
There are many things cross with the film: the script doesn’t effect a whole lot of sense at times, and the fantasy sequences seem less like something Giulietta would imagine and more like Fellini’s usual obsessions (statuesque women, the circus, etc.) . And as superbly chilly as Caterina Boratto is as Giulietta’s mother (“Nice kimono,” she sneers at her daughter at the lawn party), did he really have to cast actresses twice as huge as his Giulietta to be her mother and sisters? (Even if we are to catch that most of the movie is from her point of opinion, it serene stretches plan.) What makes it all work so brilliantly in the demolish, though, is the director’s sense of filmic yarn drive (beautifully orchestrated to Nino Rota’s illustrious win) and the performance of the lead actress, Giulietta Masina, who makes it all really matter. Although Masina has not been as praised for this role as distinguished as for her work in CABIRIA and LA STRADA, her work here is every bit as lovely, and perhaps better for its greater subtlety. Peruse her expression the first time she sees one of her visions after she closes her eyes on the beach–or her amazing range in the lawn party sequence as she segues from forced cheerfulness to express helplessness to rage, and then finally to despair. (When she finally loses it at her guests and screams at them, it’s hard to say what is more memorable: her moment of fury or her terrifyingly lost expression when she realizes they haven’t even noticed) . Although you really should explore this on the vast shroud (and on as certain a print as possible), this is a film every student of film should leer.
The film was generally panned when it was first released, and you can smooth ogle why. It doesn’t live up to the standards Fellini place earlier with his early masterpieces “La Strada” and “Nights of Cabiria” or his later international hits “8 1/2″ and “La Dolce Vita.” The visuals are almost hallucinatory, but the yarn of a repressed middle-aged woman (played by the fantastic Mrs. Fellini, Giulietta Masina) coming to grips with her husband’s infidelity and her beget childhood demons is woefully underdeveloped and gives Masina very miniature to do–other than rely on trademark twitches and queer costumes. Mild, some of the fantasies are mindboggling and incredibly creative. (Ever since I first saw this film, I’ve wanted to visit a treehouse like the one Juliet’s neighbor takes her to.) And I’m particularly fond of the hoards of faceless nuns forcing school-girl Juliet to act out the martyrdom of some saint on a grill–from which her eccentric grandfather rescues his “petite Bifsteak.” Sandra Milo is a vision and fantasy come-true as Suzi, one of the spirits who leads Juliet to eventually free herself. Some of the sixties touches create for fun nostalgia now–like the twisting twins on the beach and Juliet’s family’s psychodelic couture. Regretfully the film never quite achieves its potential, but it’s level-headed well worth a look. Any Fellini movie scored by the incredible Nino Rota is worth watching for the music alone. (A previous post claims this to be Giulietta Masina’s “swan song.” Nope…she later co-starred in Fellini’s disappointing “Ginger & Fred.”) Regarding the pre-”Criterion Collection” DVD release; it would have been nice to have a fuller restoration, and this film especially seems ripe for including lots of additional extras that aren’t there. I gaze forward to the current Criterion Collection release!
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