Juliet Of The Spirits-1965
Starring-Giulietta Masina, Sandra Milo
Scott’s Review #725
Reviewed February 15, 2018
A true Fellini film in every sense and perhaps his most personal film of all, 1965’s Juliet of the Spirits is a colorful and masterful experience containing fluid art direction and stunning sets and costumes. As with most of his films, the story and its intricacies are odd and do not always make perfect sense, but the film is meant to be absorbed and felt and exhibits more of a central plot than some of his other works. Juliet of the Spirits is certainly not to be missed for fans of Fellini or any novice wanting an introduction to the great director.
In a compelling tidbit of background information, lead actress Giulietta Masina, wife and muse of director Fellini, and sometimes deemed the female Charlie Chaplin, plays a true to life character. In real life the woman suffered from her own bout with a philandering husband- Fellini himself! For this reason alone the film is interesting to watch as a true to life story leading the audience to empathize with Giulietta and her life of doldrums and turmoil.
Giulietta Boldrini (Masina) is an affluent woman living in Italy with her successful and dashing husband, Giorgio (Mario Pisu). Despite wealth, two housekeepers, and free time to do whatever she pleases, she is dissatisfied with her life and her surroundings. This occurs largely after hearing her husband mutter another woman’s name in his sleep. Concerned and intrigued, Giulietta hires investigators to unravel the mystery while at the same time spawning an adventure for her.
Instead of being a cookie-cutter film with a basic plot explained above, in true Fellini form, the character of Giulietta traverses on a journey into the dream-like and odd experience, tapping into her repressed desires and innermost thoughts, while being exposed to her larger than life and sexy neighbor, Suzy (Sandra Milo). The oversexed Suzy enlightens Giulietta to the joys of her mansion, her tree house, and her many dazzling, weird friends, and bubbling sensuality.
Juliet of the Spirits is a joy to watch and quite a bit more linear than other complex masterpieces such as 1960’s La Dolce Vita or 1969’s Fellini Satyricon. The plot is spelled out in a direct way- Giulietta is depressed and anxious for something new and exciting in her life. Her journey into this new life while wrestling with her demons and resistance makes this film so much fun to watch.
The styles and colors that Fellini creates are brilliant and lavishly loud. Take the gaudy and glamorous nest that Suzy calls home. With a built in underground swimming pool where she bathes after lovemaking, and velvety red walls and furniture, her palace is both tawdry and sophisticated. Fellini uses gorgeous reds, greens, and blues throughout the film to create dazzle and spectacles with larger than life characters.
To further focus on Suzy for a minute, the blonde bombshell frequently visits her very own tree house complete with a swing. She flirts with handsome young men who gaze up at the scantily dressed beauty as she tosses her high-heeled shoe down to them in a suggestive manor. When they come up to the top of the tree house by way of a mechanical basket, presumably for sex, this is too much for the overwhelmed Giulietta, who returns to the safety of her own home. But clearly she is as much titillated as she is scared.
The film belongs to Masina and we cannot help but wonder if Fellini created Juliet of the Spirits as a sort of apology to the actress for his reported years of cheating. Regardless, Masina plays a middle-aged, confident on the outside- insecure on the inside, woman flawlessly. With her expressive eyes and nice smile, Masina fully encompasses the role with enthusiasm- a perfect fit for a Fellini film.
Juliet of the Spirits also is great at mixing in several forms of film genre including fantasy, drama, and light comedy and contains a bevy of interesting supporting characters. Suzy’s seemingly clairvoyant mother is a great side character as she upon meeting Giulietta immediately sees that the woman is troubled. Giulietta’s father, whom we meet when she is a little girl appearing in a religious play, is boisterous and spirited.
Having been fortunate enough to stay at the Grand Hotel in Rome, a lavish yet strange establishment where Fellini spent many a night as a guest, I fantasized while watching Juliet of the Spirits, that he drew inspiration for this film from said hotel. The grand red textures appear in both hotel and the Fellini film so I could very well have experienced a true inspiring facility.
Stalwart, creative, and masterful director Fellini once again serves up a stylish film that must be thought about following a good, solid viewing. Too much analysis, however, will ruin the enchanting experience, as Juliet of the Spirits is best served up as a treat to be mesmerized by in glamorous fashion.