La Dolce Vita(Astor)A young idealist comes up from the provinces and is corrupted by the depraved city. This perennial theme now reappears in La Dolce Vita, surely the most loudly-heralded foreign film ever to be seen here. With many virtues, this latest Federico Fellini work suffers unfairly from advance blather; and suffers fairly by comparison with Antonioni's L’Avventura, which deals with some of the same matters.Corruption, or at least skill in rascality, is well under way when we first meet Marcello, a young Roman journalist.
At last. Michelangelo Antonioni is an Italian director who has just made his seventh film and who is so highly esteemed abroad that there has already been an Antonioni Festival in London. For the eleven years of his career no Antonioni film has been released here. Now at last comes L'Avventura, which is the sixth of his works.The first ten minutes make it clear that this is the work of a discerning, troubled, uniquely gifted artist who speaks to us through the refined center of his art. We may even "like" this film, but those first ten minutes indicate that liking it is not the primary point.
At last. Michelangelo Antonioni is an Italian director who has just made his seventh film and who is so highly esteemed abroad that there has already been an Antonioni Festival in London. For the eleven years of his career no Antonioni film has been released here. Now at last comes L’Avventura, which is the sixth of his works. The first ten minutes make it clear that this is the work of a discerning, troubled, uniquely gifted artist who speaks to us through the refined center of his art.
Educated Americans are eager customers for national self-analysis, especially for studies which compare the present unfavorably to the past. They Hock to writers like Vance Packard, who see America in the throes of a decline in individualism, thrift, culture and other long-prized virtues. One of the favorite topics of the decline-and-fall school of social analysis is the homogenization of American life.
For nearly 20 months a subcommittee of the Senate Committee on the Judiciary has been holding hearings, ostensibly on "the Communist threat to the United States through the Caribbean," presided over by James O. Eastland of Mississippi. He is assisted by Senators Dodd, Johnston of South Carolina, McClellan, Ervin, Hruska, Dirksen, Keating and Cotton. How many witnesses have been called has not been disclosed. The testimony of only a few has been released, and that has been edited before publication.
Arthur Miller, in his plays, has done some representative worrying for all of us about certain defects and defeats in contemporary life. Now he has broken a five-year silence with a screenplay called The Misfits in which he expresses further concern. The premise is promising: a Chicago girl goes to Reno for a divorce, and there meets three Western men. She is desperate for reliable human relationships, they are in a last-ditch fight against the diminution of large-scale life.
The President-elect may not, in every instance, have picked "the best men available" for his Cabinet, but since "the best man," like "the very best butter," is a matter of personal taste, the new appointees and John Kennedy should be given the benefit of a few doubts. On the whole, the Cabinet has a new-minted brightness. There are doubts, nevertheless, and the Defense appointment gives rise to the most important of them. Robert S.
As they do with governments, countries usually get the film stars they deserve. Marilyn Monroe and Sophia Loren, each of whom now appears in a film comedy well-tailored for her, are good examples. To see both in one week, as I did, is inescapably to compare them not only as women and actresses but as national evocations.