ccording to film reviewer and critic, Peter Matthews, “La Strada already hints a
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ccording to film reviewer and critic, Peter Matthews, “La Strada already hints at the kind of radical artist he [Fellini] would become—one less interested in communicating legible meaning than in unburdening his private obsessions, myths, memories, and dreams.” The film bridges Fellini’s background in neorealism to that of magic realism. It also brings together many contrasts, both archetypal and artistic. How does the character of the “strongman,” Zampanò, contradict that of the mysterious Gelsomina? What does this lyrical tragedy say about humanity?