I Vitelloni

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Will G A great Italian film. Fellini is a great director. It was nice to see Italy, they show the countryside. There is a fun party scene. The music was good. The train scene towards the end reminded me of the ending of “Luca”. Rated 4.5/5 Stars •  Rated 4.5 out of 5 stars 05/18/25 Full Review Luca D I always wondered what it would be like to see friends grow up staying in a small town and never leaving. Living in a city most people go different ways and never see each other again. This movie shows the idea of how these men must desire leaving and starting new so much. Great acting and screenwriting. Rated 4/5 Stars •  Rated 4 out of 5 stars 12/24/24 Full Review A R A well-known theme today, I Vitelloni feels like the archetype of the late-20s disillusionment movie. A coming-of-age narrative that emphasizes the constant state of coming-of-age. I think too much time is spent on the Fausto plot, but Sandra's actress and the climax of the plot make it very watchable. Besides the Fausto of it all, this movie expertly balances directness and subtlety at every turn. The Moraldo plot especially, with so much emotion and growth exhibited in ultimately few lines. Considering when this movie came out, I'm especially impressed by the portrayal of woman. Sandra's character has depth and manages to be sympathetic as opposed to pitiable most of the time. Many of the women also see through our main cast's shenanigans and delightfully shove them off (with some obvious exceptions). It's also poignant to see Leopoldo realize the sexual harassment in the theater industry - a reality we're still experiencing in 2023. There are very few movies focusing on men experiencing harassment in general - it's usually played for laughs, and the Leopoldo scene may be interpreted that way, but it also feels definitively sinister. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 11/07/23 Full Review Federico T The definitive consecration of Federico Fellini's genius, this is the second feature-lenght film by the italian Maestro, with which he gains his first uncontested success, after the disappointing reviews of the hazardous, anarchic and surrealistic "The white sheik". Alberto Sordi is casted again and his movie career is propelled to super stardom, offering a seminal performance in which he condenses all of his mask traits, the epitome of the gallant slacker mama's boy whose limitations and mythomania cultural intoxication could mark an entire generation's failures and incapacity to take life seriously. The lesson in life is fully imparted to Franco Fabrizi's character, the unrepentant womanizer Fausto, who shines in a skilled interpretation that maintains a candor, regardless of all the wicked things he commits, that lets his character be hinged on the hope to become a better man. This movie is built upon the narrative possibilities of memories mixed with fantasy, where Fellini's autobiographical elements are fused with the power of invention that expands the provincial world which by then had never been investigated if not from a stark realistic point of view. This theme will be deepened in Fellini's subsequent work (above all, in 1973's "Amarcord") and associated with his cinematic language. The ending sums up the movie's moral, with one of these life procrastinators that finally breaks the tie and leaves towards his emancipation: as the train moves away, the camera frame reviews the others protagonists who, lying in their beds, maybe one day will be ready to embrace the cruciality of their moment in life. Rated 5/5 Stars •  Rated 5 out of 5 stars 05/05/23 Full Review Taylor L In post-war Italy, young men aren't shown to be limited by the lean times or dim prospects, so Fellini presents a comedy-drama of human weakness to explain why his five young protagonists seem perpetually stuck. They wander through their lives, never attempting to find opportunities for personal growth and spurning those that live with dignity, even as the working class. His characters are essentially large children (thinking back to a climactic whipping with a belt, pleading with a parent endlessly), and are more content to live in their own dreams and in the hope they might come true. Fortunately, I Vitteloni is not just some sort of Ayn Rand wet dream where lazy layabouts get what's coming to them because of a lack of initiative or discipline, it's more a discussion of reality crashing in and the attempts that our characters make to prolong their sweet, idle delusion for as long as possible. One of Fellini's earliest mainstream successes, I Vitelloni doesn't necessarily set the high water mark for the director's sense of visual flair or his willingness to probe human weakness, but it's certainly well-executed and an indication of good things to come. The wandering plotlines and inconsistent character development (Franco Fabrizi's Fausto becomes essentially the main character by virtue of how much screentime he receives) aren't really much of a concern; if anything, they reinforce how the characters themselves choose to simply drift through life. (3.5/5) Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 02/09/23 Full Review Audience Member Fellini shouldn't be so hard on all of his early work. I vitelloni (The bullocks or The layabouts), his very next picture, quietly ranks among his absolute must-sees. Though the filmmaker would frequently shirk notions of his films as autobiographical, there's little room for any such denial here. Crafted with remarkable nuance and raw humanity, the subsequent success of I vitelloni would take Fellini far. Notably, the cinema of George Lucas (particularly American Graffiti, even with its partially Italian moniker) owes much to I vitelloni in terms of thematics. Rated 4.5/5 Stars •  Rated 4.5 out of 5 stars 02/27/23 Full Review Read all reviews

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