A film-experiment of mixed merits and a hagiographical tribute to Anna Magnani. The two episodes (secular - pastoral) are linked not only by the great pathos of this major actress but by the twists given to the one or the other side. The winner is the second story, depite the melodramatic heights of the first. Fellini's touch on the motif of the holy fool works wonders and 'Nanni's' materialist redemption moves!
Actors' showcases aren't very interesting to me: best kept to the stage. Part one is particularly groan-inducing. Wow, what an actress! Applause! Applause! Part two's a big improvement - Fellini's silent appearance is a nice touch - but still.
Part one: 2 stars. Part two: 3.5.
Una película que hubiera preferido se vea mediante cortos independientes. La relación con el amor en la historia de la mujer sufrida es obvia. La segunda sin embargo no tiene relación salvo sea forzado. Lo mejor, la doble interpretación de Anna Magnani. Una actriz sufrida, catárquica, presa de la locura y el éxtasis obsesivo en ambas historias. La primera historia además tiene de cine moderno. Es visceral y simple.
The first episode had the longest takes of any Rossellini film I've seen. It was a pretty bold move having it simply consist of a one sided phone conversation. I liked the second episode much more though, as I pretty much sympathize with any "holy fool" character. I wish this episode was feature length, actually. For once, I really liked the endings.