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This masterpiece grabs you from the get-go and doesn’t let up! Explore carefully, for the first two minutes of the opening scene portray the dismal recurring pattern of Cabiria’s life: sheer happiness followed by tearful sorrow. Fellini’s masterful come to the tale of Cabiria, a plain-Jane older prostitute in 1950’s Rome, is not only artful but insightful. Surprisingly, you appreciate this character from the moment you meet her and you can’t benefit but wish her the best. You personally fraction in her disappointments, some greater than others, and Cabiria displays a noteworthy level of resilience in the face of it all. Objective when you commence thinking that things may be going well for her, Allege!, Fellini drops the bomb that blows everything to bits. The ending is one of such heartbreaking sadness that, I guarantee, will pause with you forever. Even weeks after first seeing this film, dear Cabiria is collected on my mind and I wonder every so often what happened to her after the movie ended.

From a technical aspect, the Criterion release is outstanding. The visual restoration of this film is improbable. There is a feature that shows how the film was restored, and it’s absorbing to notice how the print went from shaded and almost impossible to inspect to distinct and intellectual. The subtitles have been newly translated to a more new English. There is an optional English-dubbed soundtrack which is suited for some scenes where there is lots of quick-fire dialog in which the subtitles have been pared down for clarity. There is also a video interview with Fellini’s assistant Dominique Delouche, as well as an audio interview with Dino de Laurentiis. This newly-mastered print has a formerly missing segment titled “man with a sack” which, depending on which interviewee you have, was deleted due to pressure from the Roman Catholic Church (Delouche) or for the sake of timing and continuity (de Laurentiis) . My only spot with the restoration is that the sound, remastered from the unique 1957 negative, is sometimes harsh and tinny. But, that’s minor and easily forgiveable when compared to the magnificent visual restoration.

A classic that’s well worth owning and that shows Fellini at his best.

A prostitute whose life is a veritable gape in the resilience of the human spirit is the subject of “Nights of Cabiria,” directed by Federico Fellini. Giulietta Masina stars as Cabiria, a gentle soul at heart who manages to believe a definite outlook even in the face of adversity. Experiences that would leave those of lesser mettle jaded she is seemingly able to ward off and emerge from intact, with a guarded optimism that nevertheless leaves her begin to whatever ills life may have in store for her next. But it is impartial that optimism and her sense of joy in the simple things that makes her so endearing. She is proud, for example, of the fact that she owns her bear house, hovel though it may be. Though not one to be easily duped, she is vulnerable to dependable persistence, which has in the past rendered her victim to those who would hold advantage of her, which is succinctly established in the opening scene of the film. Fellini’s film is a eye of how estimable may succumb to ghastly, and yet smooth triumph in the kill (though launch to subjective interpretation) . It’s something of an examination of endurance; how many times can one be knocked down before finally being unable to stand assist up again. At the same time, however, it’s an example of how purity can prevail against even the utmost cruelty. There is a humanity manifested in Cabiria that somehow gives absolution, not only to her lifestyle, but to those who would willingly do her pain. And it is in that very same absolution that we net a message of hope and redemption. As Cabiria, the exiguous Masina gives a performance that is nothing less than superlative, filled with nuance and expression. She has a face and a manner that sigh an extraordinary depth of emotion, and Fellini captures every bit of it with his camera to perfection. It sometimes seems that she is a sprite merely masquerading as a woman; she has a light, almost ethereal presence, though at the same time she exhibits an earthy quality that gives her character such complexity, which removes any semblance of stereotype one may establish to her character as a “lady of the evening.” It is a heartfelt, memorable portrayal that quite simply should have earned her an Oscar for Best Actress. Turning in a powerful performance, also, is Francois Perier, as Oscar D’Onofrio, the stranger who comes into Cabiria’s life with an offer that ultimately seems too splendid to be legal. The supporting cast includes Amedeo Nazzari (Alberto Lazzari), Aldo Silvani (The Hypnotist), Franca Marzi (Wanda), Dorian Gray (Jessy), Mario Passante (Cripple in the “Miracle” sequence), Pina Gualandri (Matilda), Leo Cattozzo (Man with the sack) and Polidor (The Monk) . “Nights of Cabiria” is a film of astonishing depth that is pretty as well in it’s humanity; Fellini has created images, both visually and emotionally, that are glorious and indelibly realized. Highlighted by the performance of Giulietta Masina, this is a film that begs to be embraced, one that will conclude with you long after the last shadow has passed from the veil into darkness. In Cabiria, Fellini somehow touches something eternal, for there is a lasting sense of innate goodness about her that simply cannot be forgotten. For seekers after wisdom and truth, this is definitely a film that must not be missed.
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