Nights of Cabiria (1957)

Review:

I think you can make the argument that Fellini’s “Juliet of the Spirits” (1965) is the female counterpoint to his “8 ½” (1963). Both are films that analyze a central character whose life seems to be coming apart at the seams, in large part due to extra-marital affairs and existential concerns. In “8 ½” we have the Guido, who wants to tame all the women in his life to restore a semblance of continuity in his career and in his existence. With “Juliet of the Spirits,” we follow Juliet, a woman who has been shattered by her cheating husband and who decides to leave him to restore that same sort of continuity of existence Guido sought.

But before “8 ½” and “Juliet of the Spirits” Fellini made two other films that serve as gender based counterpoints – “La Dolce Vita” (1960) and “Nights of Cabiria.” (1959). Both films explore similar characters and similar themes. Fellini’s heroes in these films are the bottom rung of society and we watch as they try to scrape their way out of their positions in search of greater meaning and purpose. While “La Dolce Vita” is the superior film, “Nights of Cabiria” still holds its own.

In recent years “Nights” has joined Fellini’s “La Strada” in accruing a wider and wider audience. Slowly, these films are becoming as widely seen as “8 ½” and “La Dolce Vita.” “Nights of Cabiria” tells the story of Cabiria, a tiny and cute prostitute whose innocence is her greatest charm and weakness. Fellini buffs will note that we have met Cabiria once before in Fellini’s first feature “The White Sheik” (1952). Both times she is played by Fellini’s wife, the great Giulietta Masina.

Masina always has such an expressive face. In some scenes she can exhibit the angelic demeanor of a child and in others she can look as morose as an old, dying woman. “Nights of Cabiria” begins with Cabiria’s pimp stealing her purse and pushing her into a river. She nearly drowns. When she is saved she is discouraged to understand her pimp valued her life less than the 40,000 lira he stole with her purse. Cabiria leads a sad existence but she is indomitable. She does not give up, no matter how dire the circumstances.

Like with Marcello in “La Dolce Vita,” we follow Cabiria through a series of episodic adventures that mostly take place at night. One night she gets picked up by a famous movie star who’s had a falling out with his finacee. Another time, Cabiria follows a rhapsodic crowd that longs to have a vision of the Virgin Mary. Another night she meets a Good Samaritan handing out food to the homeless. With this Samaritan, Cabiria meets an older prostitute who used to be a beauty, now living destitute in a cave outside of Rome. For Cabiria, this woman is a forecast of things to come if she doesn’t change her life.

Thus, when a nice man comes out of the night, expressing love and his intentions to marry Cabiria, she sees her way out. Are these man’s intentions true and honest? I will not give it away - but I will say that Fellini has a tendency to bookend his films.

The final scene of “Nights of Cabiria” is beautiful and one of Fellini’s best endings. It is a synthesis of a parade and a party with Cabiria at the center, staring with quiet determination into the camera. Of all Fellini’s vivid images, this one may best encompass his vision of the human experience.

Rating:

On a scale of one to “Casablanca”, this film is an "About Schmidt" (2003).

Rationalization:

I think you'd be hard pressed to find a person who wouldn't admit that sometimes life can be a series of low-blows and inequities. And yet, we struggle on, trying to make the best of our situations in an otherwise cruel and indifferent world. Movies like these make me grieve and hope for humanity, showing us what is best in our natures while never denying we are pathetic creatures with a loose grip on even our own lives.