DVD Savant Review: Juliet of the Spirits
GREAT ENDING. Probably my second favorite Fellini ending after Amarcord's. the only film I really like Giulietta Masina in, she IS Juliet of the Spirits. John G. Shop Juliet Of The Spirits [DVD] . Everyday A vision of his wife and their relationship through a tale of betrayal, magic, superstition, erotism and intimacy. Juliet of the Spirits () on IMDb: Movies, TV, Celebs, and more Towards the end of the film, there is a scene where she is trying to avoid voices . sprawling dialogue and humor, the biggest difference was this was about relationships.
Criterion Reflections: Juliet of the Spirits () - #
When there is no external source for this discontinuity, there must be an internal one, and this can be seen in the two stylistic elements. Manipulations of mise-en-scene are designed to manifest the two warring sides of her unconscious along with the one aspect of her psyche that has been hidden for a long time, her true identity.
Manipulations of editing essentially show aspects of her memory and other psychological states. Editing was engineered to defy continuity with the insert of apparently non-diegetic images and scenes. These non-diegetic elements either have a reference made on screen to tell the viewer such an interruption is a memory or have no reference made but their constant appearance at particular moments supports the idea of an internal state visualized.
Two non-diegetic scenes follow after Giulietta has said something to indicate their true existence as memories.
Each scene deals strongly with her grandfather in some way and each has distorted mise-en-scene. The first scene deals with a circus memory where her grandfather met the ballerina for the first time. The second scene deals with her memory of performing in a school pageant about a Christian martyr, which her grandfather disrupts as unhealthy. These two memories are linked together not only by their editing but also by their mise-en-scene.
Both scenes have a greenish haze in the background and very little detail to fill the frame and catch the eye. The audience for both the circus and the pageant are impassive, motionless and dressed in white.Juliet Of The Spirits - The Baby Dance Jump Cut
For the pageant, the nuns all line up in solid black rows in the beginning and then form two lines to close in around the grandfather leading young Giulietta away at the end of the scene. For the circus, two lines of black clad men on stage are extended further out by two lines of black horses in the beginning while two lines of black dancing men diagonal in to young Giulietta watching from behind a fence in a graphic match with the nuns.
These two events had the same effect on Giulietta as she was growing up. In both instances, her grandfather did something the rest of her family considered irrepressible, and she naturally adopted this view as the truth so that later she could not understand the aspect of love her grandfather and the ballerina shared. These two memories serve this interpretation of her development, but their distorted mise-en-scene also say something about the nature of memory. She does not remember the events clearly.
The audience for both are cut from the same mold and not given any life as if stereotypes. The atmosphere of both is clouded with a green haze, and there are no details, only solid colors and simple shapes.
She was very young when these things happened and cannot remember them correctly; thus, Fellini is saying her idea of love and herself are based on false images, memories that are not true to life. The graphic matches suggest her memory of these events have been influenced by the Church.
Visions of the Unconscious: An Analysis of “Juliet of the Spirits”
She remembers things the way others want her to and not the way they truly were. She sees her grandfather the way others want her to, and she sees love the way others want her to. With the Church telling her what to remember and think, it is interesting to compare her memories to inserts with no diegetic introduction that herald the emergence of a new psychological state.
At the beach, Giulietta appears to doze and there is a cut to a man pulling a rope from the sea.
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The entire scene is awash in a green haze, darker than the aforementioned memories and much murkier, and each shot has very sparse details on all grounds of the frame. The image of Giulietta physically pulling these boats unto shore creates the sensation that somewhere in her mind she is unconsciously bringing up long buried thoughts and emotions which will be necessary for her transformation.
In this scene, the barge does not land. It is not until the final climax, just before the spirits physically invade her house that the barge, still awash in green haze, lands. For a long time, Giulietta has not been able to understand her grandfather, to truly accept what he stood for against the Church.
The DVD has captured the saturated colors as they might have appeared in original Technicolor prints When Fellini pulls off setpieces - the ancient airplane, Suzy's mirrored bedroom with the slide into the pool, the weird wagon that hauls away all the troublesome people in Giulietta's life - he really goes whole hog.
There are dozens of erotic setups that must have taken hours to put together, but last scarcely a couple of seconds each. Fellini's cooperative wife Giulietta Masina gives the show a nice center, as she remains positive and open to all the possibilities of distraction and dissolution offered her. Her warmth and sincerity is so complete that we aren't frustrated when she does not take charge of her situation more forcefully.
Fellini, at least cinematically, doesn't seem to believe in strong or permanent love relationships, so there's no romantic solution to Giulietta's plight, just undesirable tangents off into cult mania or erotic self-deception. The answer seems to be an inner spiritual life, which in Giulietta's case means voices from the beyond, prompted by a seance in the ad hoc dinner party that opens the show.
Juliet of the Spirits (Giulietta degli Spiriti) - Movie Reviews - Rotten Tomatoes
She's beset by visions from two formative childhood events, her repressive religious upbringing, and the story of a grandfather who ran away with a young showgirl. If the story has an ending, it would seem to be Giulietta embracing the spirit voices, who may even include the trees that tower above her cartoonish little house. Varying interpretations of the show have hinted that much of what 'happens' is an interior illusion, and there's plenty to bear this out, with the sensationalist Suzy living in a pleasure palace that seems at least partially to be built in a treehouse.
Is Suzy a neighbor, or some kind of oversexed alter ego for Giulietta, wandering in her dreams? Giulietta degli spiriti qualifies as hardcore surrealism by its refusal to discriminate between its real and imaginary worlds.
The detectives talk and behave like bureaucratic demons from some patronizing Hell, while the erotic phantom that is Suzy is a heartfelt friend. In the 'real' portion of the show, there's Giulietta and her servants, who behave in a consistently mundane fashion, but not so the rest of Giulietta and Giorgio's bizarre associates, who constitute a predictable and this is negative criticsm Fellini chorus of freaks, asserting their oppressive viewpoints and their diverging sexual appetites.
If Juliet has no friends, it may be that she needs to find a neighbor or two who doesn't have a boy toy in tow, or doesn't look like they stepped out of a psychedelic nightmare. The horror of discovering your husband is cheating on you and the spirits that you consult to help.
Juliet is neither insane nor crazy, nor would I consider this a "tale of terror". This is a story about a normal person who is placed into extraordinary events that cause her to regress to her childhood. This also brings out the spirits from her childhood to help her in her bumpy path. This is not to say that this film is without faults. While Fellini has obviously mastered the field of directing, showing us with bold colors and creative storytelling, there is something that could be said about his choice of music.
I feel that the music used in this film conveyed a message opposite of what was to be felt. I felt that when we were to be shocked or surprised by Juliet, there should be equal music playing, but instead all I head was this happy go-lucky tune that seemed to trample the overall theme of the film. Perhaps Fellini used most of the money for the colors and story and only had one record left for the soundtrack of the film. All I know is that the music used did not work in this film at all.
If I could change one aspect of this film to bring it to perfection, it would be the score. What was Fellini thinking? I would like to say that this first Fellini experience has been magical. I am glad I have the opportunity to share it with everyone, and if you take anything from this review it should be two things.
First, don't insult a film until you have viewed it in its entirety, you never know what gems may just need to be polished to glimmer. The saying, "Never judge a book by its cover" applies to films as well.