City of Women

By the time this movie was made Women's issues were alive in the media of all industrialized nations ... This movie was meant to shock and shock it does. Its not crass ... it is very cerebral and highbrow. The character is lost in a sea of femme weapons. This movie actually depicts well the confusion and men and women in a new age. The movie is full of enticement followed by letdown and weirdness ... as is our daily lives in this new age. Have you ever heard that all a man thinks about is sex ... well this movie takes it to extremes. Its funny, scary, enticing, crazy, dreamy, wild, intellectual, modern. I think one of best of Frederico. He got better with age. The movie characters are all over the edge, too much, too weird ... its all for a point.

Continuing my Fellini quest, I found City of Women to be interesting. It is not my favourite Fellini, the pace feels sluggish at times and it is rather shrill and unsubtle in tone. On the other hand, Fellini directs beautifully with his distinctive style most evident. City of Women is visually stunning in scenery, costumes and cinematography. The music is full of cheerful energy and nostalgia, while in terms of writing the autobiographical aspects are interesting, the self-parody and satirical aspects are funny and the dream aspects are appropriately dream-like and in an enchanting way. The story shines with the personal and nostalgic style that is so distinctive of Fellini. The acting is fine, especially from the ever compelling Marcello Mastroianni, though his performances in La Dolce Vita and 8 1/2 are even better.

All in all, interesting but I personally would have preferred more subtlety. 7/10 Bethany Cox

Kind of shrill and not very subtle, but nonetheless fascinating. Marcello Mastroianni plays "Snaporaz" (Fellini's nickname for the actor), who gets lost in a nightmare world where he is confronted with feminism, absurd satires of machismo and sexual fantasies and confusion. This film doesn't seem to have a very good reputation, even among Fellini fans, but I was mostly enthralled with its strange, unpredictable rhythms, visually astonishing sets, sense of humor and dreamworld logic. The cinematography (by Guiseppe Rotunno, who did a number of other Fellini films, as well as ALL THAT JAZZ, with which this picture shares some similarities) is delightful and the score is a mix of the usual carnivalesque tunes and eerie, more modern sounds... and one hell of a great Italo-disco song. Some parts are annoying or just too long, but overall it's my favorite of Fellini's later career, a surreal amusement about masculine fear and self-loathing.

It is not as much a study of eroticism as it is one man's erotic fantasy about the battle between the sexes…

A rich, horny Italian (Mastroianni) meets a woman on a train… When the train stops, he follows her into a lonely wood, which becomes a futuristic world of forceful women who have almost entirely destroyed completely all men in their society…

Mastroianni's character is left alive as a curiosity piece… His experiences carry him deeper and deeper into this bizarre fantasy city… The film never fully provides passion and erotic lusts, but is tickling and stimulating pleasantly none the less... Fellini's point—that women resent the fact that men are easily excited—is most effectively carried by Donatella Damiani, a buxom and very beautiful young actress who runs nearly naked throughout the movie…

Although the film never tires, it never quite completes its erotic expectations either, giving priority to consider carefully its own bizarre reality… It has elements of science fiction and adventure, but is more exactly a fantasy on the estrangement between men and women...

I am a great fan of early Fellini, and as late as Amarcord I still find much to admire. After that, though, there seems to me to be an inexorable decline in originality. By the time we get to this film the decline is definitely in evidence throughout. Freshness has given way to trademark, vitality to predictability. Mastroianni is still there, as cool and enigmatic as ever, and some of the cinematography remains dazzling. But an air of staleness hangs over the whole film, which apart from its other defects is far too long. Fellini fanatics admire it, that much is obvious, and good luck to them. But most simple admirers will pass it by. It is worth adding that in the troubled and deeply unequal world we live in, Fellini's later obsession with the idle rich is looking increasingly frivolous. But maybe that's just me.