A businessman finds himself trapped at a hotel and threatened by women en masse.
A businessman finds himself trapped at a hotel and threatened by women en masse.
Marcello Mastroianni Anna Prucnal Bernice Stegers Donatella Damiani Ettore Manni Jole Silvani Nadia Vasil Gabriella Giorgelli Dominique Labourier Loredana Solfizi Penny Brown Gabriella Di Luzio Malisa Longo Josiane Tanzilli Catharina Dahlin Marina Hedman Hélène Calzarelli Catherine Carrel Marcello Di Falco Silvana Fusacchia Stéphane Emilfork Sylvie Matton Meerberger Nahyr Sibilla Sedat Katren Gebelein Alessandra Panelli Fiorella Molinari Rosaria Tafuri Sylvie Wacrenier Show All…
城市女郎, La cité des femmes, Vrouwenstad, Die Stadt der Frauen
How does it feel to be the object of the female gaze, Mastroianni? The same question could be asked of Fellini, a director who was always accustomed to smother his male characters with beautiful, voluptuous women. From LA DOLCE VITA (1960) to 8½ (1963), from JULIET OF THE SPIRITS (1965) to FELLINI'S CASANOVA (1976), women have always been portrayed as seductive mysteries onto which debonair men have projected their dreams and fantasies. These films are strongly autobiographical, almost behaving like extensions of how Fellini feels about himself. The sheen of cool that once defined his male characters, like Marcello, Guido, and Giogio—each, you'll recall, presented as if they could tantalize and possess any woman they desired —here feels faded and regretful,…
"What kind of film is this?"
Jesuschrist, what an astoundingly immense, all-encompasing, magnificent and otherworldly stupefying film! Absolutely relentless, mad, in love with poetry and language, and having an unequaled feminist power in the entire history of Italian cinema.
Mastroianni reflects, once again, the auteur's alter-ego with a modern Casanova character named Snàporaz, who is virtually Guido Anselmi's character sequel under the hypothetical construction that the man is still being haunted by the same memories and fantasies, but under a pervasive sexual decay and in an era where gender empowerment has reached an unprecedented state of social equality through a passionate, multigenerational struggle. The film makes a perfect balance between being a representation of the consciousness of men in all…
“What kind of film is this?”
Have you ever had a friend go into great detail about a dream they had and as they drone on and on you realize it makes no sense, but obviously means something important to them? Welcome to yet another Fellini dream.
I’m sure there’s a ton of symbolism here that I’m just too thick headed to get, but I’ll be damned if I know what the message is.
What I admire the most is the editing and transitions from one scenario to the next. This whole thing is a fluid journey and the technique that Fellini uses is something that abstract directors should really take note of.
As for the girl vs boy argument,…
After a decade and a half of strident feminist activism, how does one of the greats of 20th century modernist cinema, Federico Fellini, kick start the 80s? With a film about how horrible the whole experience has been for men, of course.
Having succumbed to the siren call of a beautiful woman on a train, Snàporaz, finds himself pulled inexorably along on an Odyssey that will take him through the bivouacs on either side of the front line of the gender wars.
First up we see him being jostled amongst an agitated encampment of boisterous women. It is like a fairground inhabited by some kind of carnivalesque topiary of feminist tropes. Domestic chores are lampooned, six husbands dance to the…
Fellini is still very new to me, like for example I haven't gotten to arguably his most famous movies (La Dolce Vita, 8 1/2) yet but I've really liked the now four movies I have seen from him so far. Fellini has this fascinating tendency to be, for lack of a better term, a horny ghoul, but to also be very interested in female characters as people and very empathetic toward women in his movies. There's plenty of male gaze but I don't think there's really all that much objectification since Fellini is interested in the humanity of the women he is sexualizing. I think that is one reason City of Women is so wonderful: while this movie could have…
Fellini and women have long had a tumultuous relationship, one rooted in seductive temptation and masculine machismo. In City of Women, Fellini takes the troubling gender troupes he has perpetuated throughout his career and morphs them into a satirical confession of his insecurities, shortcomings, and flawed perception surrounding his relationship with the opposite sex. This is one of the few Fellini films that I genuinely find funny, and Marcello Mastroianni and Fellini pairing never disappoints. I would be lying if I said City of Women didn’t at times stray a little
too far from its central story, and there still seems to be some problematic ideas existing under the surface, but overall I really enjoyed this film.
8.4 / 10
I wasn't sure what to expect from this film. Since this was the first of Fellini's 1980s films that I've seen. Fellini's films of the decade are rarely discussed compared to his run in the 1950s, 1960s and 1970s. Though I'm glad to say City of Women shows that the director's creative streak has not run out of steam.
The film is consistently very funny and has loads of memorable scenes. The film has a great score by Luis Bacalov (who also composed the underrated Il Postino) which captures the whimsy and mysticism of Fellini's world perfectly. I also loved the dreamlike set pieces such as the hotel, hot air balloon and the roller skating scene.
The highlight of the…
It should not be surprising that a major director like Federico Fellini should have one real dud among his 27 directing credits and, for mine, this is the one. I have seen it twice in a cinema - on its original release and then a decade later on a double bill with 8 1/2 (1963), with which is has much in common. When I ended up double booked tonight, I was happy to keep pace with the retrospective via my DVD copy.
It is significant that the original producer for this film was Penthouse publisher Bob Guccione who, when Fellini began pre-production in 1977, had just sacked Tinto Brass from Gore Vidal’s Caligula, seized the work print and brought in…
I was really grooving on this for the first 40 minutes or so. Sure, the feminist convention that the protagonist wandered into was a mess of stereotypes of Second Wave feminists, but the dude was getting his ass handed to him. And the whole time he was wandering around like a bumbling idiot trying to assert his agreement with everything they were saying but also asking why they have to be so angry and why aren't more of them smiling. He just couldn't begin to imagine that his presence and feedback weren't even slightly required. Y'know, just like men in real life.
And then during the whole rollerskating thing he angrily rejects Donatella's help because it wounds his pride, but…
I love Fellini's honesty and his ability to both indulge and laugh at himself- it's rarer than you might think. There's so many indulgently sexist parts to this movie but it's just always balanced out by absurdity and self awareness. This movie is really a more over the top 8 1/2 but with the focus on loving every woman ever-a general appreciation for women in all shapes, ages, and sizes. Sure, all told through the lens of the old 60s male gaze, but st least it never pretends to be anything but.
Fellini really makes movies the way I dream, I can't get enough of it.
Continuing my Fellini quest, I found City of Women to be interesting. It is not my favourite Fellini, the pace feels sluggish at times and it has a rather shrill and unsubtle in tone. On the other hand, Fellini directs beautifully with his distinctive style most evident. City of Women is visually stunning in scenery, costumes and cinematography. The music is full of cheerful energy and nostalgia, while in terms of writing the autobiographical aspects are interesting, the self-parody and satirical aspects are funny and the dream aspects are appropriately dream-like and in an enchanting way. The story shines with the personal and nostalgic style that is so distinctive of Fellini. I actually kinda like this dream-world Fellini has created, although it definitely isn't his best because I didn't really have an emotional connection with, but still worthwhile. I could see why it’s an unpopular one. Much too too weird, but hey... I don't complain when there's nudity. *Female* Nudity.
Cidade das Mulheres estreava há 40 anos na Itália.
Esse filme foi um dos raríssimos casos de eu não ter gostado muito dentro da obra de Fellini, isso quando eu era jovem e visto num VHS bem xexelento. Agora numa cópia tinindo, milhares de páginas de teoria feminista, psicológica e cinematográfica nas costas, digamos que ele sobreviveu ao meu escrutínio.
O curioso é que Fellini vai direto no ponto que vem sendo discutido no feminismo desde sempre: o maior temor masculino é de ser ridicularizado, enquanto o maior temor das mulheres é o de ser morta, enquanto homens tem pesadelos inconscientes de seus temores, as mulheres vivem seus temores no dia-a-dia, o pesadelo dos homens é estarem no lugar das…
Sogar noch bizarrer als la dolca vita oder 8 1/2. Fellini macht einfach was er will und trotzdem ist es irgendwie noch interessant, da man gespannt ist mit was er einem in der nächsten Szene überrascht. Bis es irgendwann anstrengend wird, wenn man erkennt dass das der ganze Inhalt des Films ist.
Fellini got horny on main
Absolutely loved watching the beginnings of post-punk seep into Fellini’s work. The threatening joyride scenes reminded me, of all things, The Return of the Living Dead.
Once again we have Fellini commenting on his own libertine character - whether that’s perceived or legit - in real-time as the settings and stimuli of a changing Italy bend around him. I don’t think it is quite as moralistic as some reviews here make it out to be, but it certainly makes use of its exaggerated breakdown between the sexes and its own amplified view of sexuality to reach something of a penance. This is not a full-on condemnation of libido as much as it is an acknowledgement and apology for the degradation that happens in the absence of art’s female narrative.
3.5/5.0 = Great
Almost certainly the straightest film I've ever seen. And I mean that as a compliment. CITY OF WOMEN, a man's frantically paced descent down the rabbit holes of male and female fantasy, just gets the anxiety of dealing with the opposite sex like no other film.
I love the way in which Fellini captures Mastroianni's perplexed, outraged, and all-around exhausted reactions to the sexual (and spiritual) gaze of liberated women, only to indulge in the very same counterpart masculine fantasies; satire-through-character-hypocrisy.
I jokingly compared this to SPIRITED AWAY as a folkloric, reality-bending nightmare, but my brother astutely pointed out that the closest comparison to this is Scorsese's AFTER HOURS; a single man's inability to just get home…
Don't worry, lady, you're not the only one who likes fellatio
The first half was not only fun and intriguing, it also gave me dozens of new hair and style inspirations. The rest was well shot and fun, but very much went over my head.
Kind of upset this wasn’t included in the Criterion Fellini box set.
Mr. Magoo suffers his final delusions after
becoming terminally afflicted with "blue balls of the mind".. may he rest in peace
Put this off for about four weeks. After hearing it wasn't one of Fellini's better works and seeing the length, it just didn't appeal. Even once I entered lockdown for the fourth time, finally giving me the chance to catch up with Fellini, it seemed imposing. But yesterday, I finally decided to give it a watch. It's A LOT.
Fellini in Wonderland. Fellini as exploitation cinema. Fellini as 80s neon synth dream. Fellini as feminist. Fellini as misogynist. It all swirls around a kaleidoscopic, insane look at the feminist movement, his common obsessions repeated again without much new variation. It all looks gorgeous and the fantasy scenario is so my new thing but frequently Fellini trips up, unable to make…
Another beautifully insane Fellini film, featuring the return of Mastroianni, who gives another stellar performance here. So many great visuals and quirks you would expect from Fellini. A great start to a new decade.
A shallow, ridiculous, exploration of women and sexual politics by a somewhat conservative Italian filmmaking genius past his prime. Watching Mastroianni debase himself like this, you have to his admire his dedication to Fellini’s visions.
Watch for the colors, the soundtrack, and if you want to see Mastroianni interact with:
A hairy and violently vibrating dildo
An ear-licking lamp
A vacuuming vagina
MundoF 17,045 films
French cinema comprises the art of film and creative movies made within the nation of France or by French filmmakers…