2011 Tarkovsky Prize 1st Place: Mykel Mogg
CHOICE IN LA DOLCE VITA
By Mykel Mogg
La Dolce Vita is about choice. Throughout the film, radically different ideas on each theme are shown. It is mostly left up to the viewer to decide what they take away from it. For example, one of the themes explored is monogamy versus promiscuity. Marcello is trapped in an unhealthy monogamous relationship that shows us the stifling nature of the Italian woman. She is constantly feeding him, taking care of him, and scolding him, much like a mother. When we see the alternative of loveless promiscuity, it is not anywhere near appealing.
Another thing Fellini does this with is the rich and extravagant versus poor and humble. We can see the deep pathetic boredom of the rich in most of the movie's party scenes, but especially the ghost hunt in the mansion. Instead of hunting for game, they are hunting for ghosts of the past because they are no longer relevant in the present. It's like nothing is sacred to them- it has all been trampled on. When Marcello expresses his admiration for Steiner, he talks about the clash of security and materialism versus spirituality. When Steiner commits suicide it seems that he chose spirituality; he couldn't make his children live in the cruelty of the real world.
The film doesn't show the poor life to be somehow morally superior to the rich one. This is perfectly represented with the scene about the prostitute's house. The woman herself is kind and welcoming (probably only because of the money), but they don't really find what they're looking for in her basement. They want an escape from the angst-ridden ennui of having too much money, and end up finding someone who is less human because of her need for money.
A strong motif of religious imagery runs throughout the movie. It pits pagan images against Christian images. Christianity is shown in the helicopter- jesus, being imposed from above and not communicating with the people down below. In the episode where the children “see” the Madonna, it is portrayed as extremely manipulative. Paganism is shown in Sylvia, with a connection to animals and childish delight for life. She embraces the media, and in turn they give her “offerings.” This version of Paganism is portrayed as stupid and naive- she can't escape an abusive relationship, come up with her own answers to questions or even stay on one train of thought for more than thirty seconds.
Another idea that the images of religion bring up is celebrity. The media exploits religion the same way they do famous people in the Madonna scene. The crowd acts in a mob-like way- trying to get a handful of the tree before anyone else. They are also shown raising celebrities to the level of gods- the wild dance where they spin Sylvia, the baptism in the fountain, the Paparazzi constantly following them around to document their every move. Fellini asks us- Have gods become mere celebrities in our world today? Or are celebrities the new gods?
Steiner is the most important person in the movie besides Marcello. To Marcello, he represents the ideal life. He has a loving family, an artistic lifestyle, and he encourages Marcello to pursue serious writing. When he kills himself, Marcello seems to lose his drive for finding meaning in life. This brings up the conflict of whether it's good to idolize people or not- after that, Marcello has no ideal life to strive for, only money.
Marcello ends up choosing riches, celebrity, and promiscuity. We disapprove of his life choices, but see why he made them- the other options are not glorified. The girl at the end is the life he could have chosen- humbleness, simplicity, art, and spirituality- waving goodbye to him as he walks away.
La Dolce Vita is ultimately a film that questions everything. Fellini pits different ideas against each other in a critical and non-dogmatic way, ultimately leaving moral judgments up to each individual viewer. Although it is not a literally realistic film, it perfectly captures the experience of living in a confusing universe where there is no absolute morality to rely on- in short, the modern world. The story points out the flaws in everything without providing an easy way out. It’s a call, a challenge to each person watching to try to find their own way of living.