Federico Fellini’s La Dolce Vita follows the decadent Odyssey of Marcello (Marcello Mastroianni). A gossip columnist, Marcello is steeped in the playboy, celebrity culture. He’s got a suicidal fiancée and a couple lovers. All are beautiful; none are happy. The film follows Marcello as he seeks out scandals to write about and outrageous parties.
Marcello is looking for meaning, half-heartedly, but he is looking. He’s offended when people point out that he’s sold out by writing sensational stories for tabloids, but he doesn’t exert any effort to change. He’s full of excuses and charm, which serves him well enough.
Fellini offers beautiful people in beautiful scenes, but none has any sort of world view, philosophy or religion that guides them. Their lives are like one long series of college Saturday nights where kids wander about aimlessly looking for the pleasure they thought college nightlife offered. Instead they see emotional break downs, pleas for attention, and melodrama.
Released in 1960, this film was fresh as it didn’t have the usual plot structure or protagonist who overcomes the typical obstacles. La Dolce Vita was more psychological and existential. It’s worth seeing for its artistic merit, but though I admire it, La Dolce Vita it’s not a film I’d call a favorite I want to see again and again.