The White Sheik

This is Federico Fellini's first solo effort, his first film, Variety Lights, having been co-directed by Alberto Lattuada (although it is unmistakably in the style of Fellini's early films). The White Sheik is quite underrated - there's no reason why it should be so much less respected than the other early films, particularly La Strada and Nights of Cabiria, the two most often cited as masterpieces (and I'd agree). I actually like The White Sheik quite a bit better than I Vitelloni, Fellini's next film (Il Bidone is the only one from his early period that I have not yet seen). The White Sheik is quite humorous, perhaps Fellini's funniest (although so many of his films contain a great amount of comedy). No Fellini fan should go without seeing it, because so many of his themes and images are established in it. In fact, no one should miss Variety Lights, either, for the same reason. But The White Sheik, unlike Variety Lights, stands by itself as a great film. 9/10.

A classic Fellini comedy, with all the atmosphere of a carnival that fans expect. Brunella Bovo is lovely, naive, well-meaning, but lead astray by a philandering playboy. Meanwhile, her new husband seems doomed to appear utterly insane to his family who has come to Rome to meet his blushing bride--suddenly disappeared. Charming, funny, what's not to love? Oh, and Guilietta Masina arrives in her role as the kind and sensual Cabiria--icing on the cake! While certainly not the greatest Fellini film on record, it makes for pleasant viewing. Yes, the behavior of the characters is hardly exemplary, but then, would that be entertaining?

"Our real lives are in our dreams, but sometimes dreams are a fatal abyss."

That line above is one of the most beautiful lines I've ever heard in any film. This 1951 comedy feature is free of Fellini's quintessential surrealist vision but filled with the delights of idiosyncratic imagery, genius comical precision, and indisputable humanity.

The film opens in Rome, where a newlywed small-town couple is vacationing on their honeymoon. While in Rome, the (very) young bride takes advantage of being near the location where a new film is being shot that stars The White Sheik, a popular film/serial/newspaper icon whom she is secretly infatuated with. While her husband is sleeping, she sneaks off to find the Sheik and give him a drawing she has made of him. Brunella Bovo, who plays the bride, is new to me, but she was absolutely entrancing in her innocence. Trieste's comic expressions are absolutely arresting. Sordi is hilarious as the Sheik, who is about as unromantic a romantic figure as you can imagine.

Nino Rota's first score for Fellini is a lot of fun and exceptionally carnivalesque. You can tell by the marriage of music and image that Fellini and Rota had a real treasured creative hit-off with this film, and as most know, Rota scored every Fellini film after "White Sheik" until his death in 1979. This great score has never been released in it's entirety, but the main title theme has appeared on many Rota compilations.

An absolutely adorable little film, which seems to have been regrettably ignored by the majority. It's one I will watch many times.

Likable early Fellini told in a sprightly farcical vein, with good-natured jabs against hypocritical family honour, marital disharmony and the hokeyness of pulp kitsch.

The situations are a tad too low-key to work as premium farce, but the humanity and naturalness that are invested in the story and the characters, despite all tendencies to rely on stereotypes, render this pic highly watchable, if not as memorable as later films made by the master director.

And in an age when satire is often equated with a misanthropic attitude it's nice to witness a more empathic way to get one's knuckles rapped.

7 out of 10 pitying prostitutes

When most people think of Fellini, they think of his films La Strada or La Dolce Vita and 8 1/2, but the director's vast catalogue of films is worth checking out just to see a genius at work. Fellini's early and little known film, The White Sheik proves to be a cinematic gem that not only hints at the director Fellini would become, but also stands on its own as an achievement.

Part soap opera (read Mexican soaps) and part romantic comedy, The White Sheik leans towards surrealism and comic book camp (over 30 years before Kevin Smith created DOGMA). The premise of the story is that two newly weds, Vanda Giardino (Bruenella Boro) and her husband Ivan Cavelli (Leopoldo Trieste) honeymoon in Rome where Ivan hopes to make a good impression of his relations. Unfortunately for him, his wife sneaks out of the hotel room so that she can meet her comic book hero, The White Sheik (Alberto Sordi.

Shot in black and white, this film is gorgeous and surreal. The actors on the set of The White Sheik come across as gypsy or circus like. They sport tough attitudes and this makes a nice contrast to Vanda's wide-eyed innocence.

The White Sheik is technically Fellini's second film, but the first one in which he did not share directing credits. However, he did share writing credits with Michelangelo Antonioni, Ennio Flaiano and Tullio Pinelli. If you are a fan of La Strada and Nights of Cabiria then you must see this film.