WOMEN AS WIFE:

Felinijeva supruga se pojavljuje (ponavlja se) u svakom od njegovih filmova,

ukljuujui Gelsominu koja efektno igra svoju ulogu u La Stradi. Fellini depicts the
ife pla!ing the multiple roles that he needs of her, as ell as those that he ould
rather not see. "hese include nurturer and housekeeper (i.e. mother su#stitute),
demanding and need! creature, partner in a failing relationship, at times the ife even
pla!s the role of a complete human #eing ith a life of her on (primaril! in Juliet).
$articularl! in 8-1/2 and La Dolce Vita, he strongl! casts the ife in the role of
mother su#stitute. %ote the suckling posture in the top image at right, as &arcello in
effect finds comfort at his ife'mother(s #reast after a period of stress and conflict.
)*pectations for the mothering role also e*tends to maintaining the household, as
shon in the second image, ith the ife'mother selflessl! cleaning house in
&arcello(s 8-1/2 harem fantas!. +n this image, her mundane tasks are put in a glorious
light reflecting man! children(s misperceptions (or unfair e*pections) of a mother(s
attitude toard houseork. , mother(s role also includes a mi* of love for and
authorit! over the children, and like most children, &arcello finds the former
indispensi#le hile the latter, intolera#le. "his is illustrated #est in &arcello(s final
argument ith )mma, here he alternates #eteen leaving her and returning,
#reaking the #onds and finall! returning to her #osom.
+n all of the films, the hus#and and ife invaria#l! have difficult! communicating or
understanding each other(s needs and e*pectations. "he third image, from City of
Women, visuall! communicates this pro#lem ith multiple #arriers - ph!sical (column
and doora!), spatial (opposite ends of a ide screen image) and social (crod ith
turned #acks).
.ulieta is the most hole representation of the ife, pla!ing all of the a#ove roles
along ith that of a complete person ith an interior life and multifaceted personalit!.
Fellini made this clear from the outset, ith his pla! of mirrors and reflections ithin
reflections. /ith these images, he simultaneousl! communicated her man!-sidedness,
her internal confusion and her self-deception.
WOMEN AS WHORE:
Fellini(s omen pla! man! roles, ith most characters seeming to fill a niche in the
male protagonist(s life scheme and specific neediness. $rominent among these is the
primal se* o#ject and'or the availa#le hore.
+n several instances, he looks #ack ith some fondness on his earliest se*ual
e*periences as a preadolescent. +n 8-1/2, !oung &arcello(s encounter ith the
grotes0ue Saraghina is filled ith e*citement, child-like delight mi*ed ith cruelt!,
onder, trepidation, fear and ultimatel! guilt. ,gain, Fellini faithfull! recalls a
seemingl! universal male e*perience ith aakening se*ualit!. Little &arcello and
his friends don(t seem to reall! understand h! the! should #e e*cited, #ut the! are.
Saraghina(s crude, ra se*ualit! and the #o!s( response are portra!ed ith crosscuts
#eteen her suggestive g!rations and their initial unmoving shock and su#se0uent
jo!ful leaping. +nvited to closer contact, he responds ith alternating approach and
avoidance, ended #! the inevita#le peer pressure as the other #o!s push him forard.
"o top it off, Fellini portra!s one of the orst possi#le childhood fates - #eing caught
red-handed #! adults.
+n City of Women, he recalls a similar earl! e*perience, this time ith a loving,
maternal figure (a nann! or maid). 1oung &arcello reacts to her affection ith hat
is for him a confusing mi* of se*ual e*citement and returned affection. 2is e!es (and
the camera movement, shooting from a lo, child(s perspective) are dran to her
e*posed cleavage and her open skirt a#ove his head as he crals #eneath her, mi*ed
ith cuts to her strong arms, full figure, her continuing maternal household duties and
her unconditional maternal em#race. /ith this #rief montage, Fellini effectivel! sums
the emotions and sensations that ere passing through !oung &arcello (and !oung
Fellini3) during this earl! relationship.
&addelena, in La Dolce Vita, has a more comple* relationship ith the adult
&arcello. She is a much more comple* character than most of Fellini(s mi*. 2er
#ehavior and ords could fall into a &adonna'/hore categor!, particularl! in the
final villa scene in hich she confesses her mi*ed impulses #eteen fidelit! and
se*ualit!. "he imager!, at right, adds to the ironic church-like atmosphere as she
(confesses( her feelings and (sins( to &arcello. 2oever, her role, again unlike most of
the others, defies eas! description. She is also a friend and confidant, unlike an! other
of the male protagonists( se* partners in these films. +n some a!s, she almost seems a
female mirror of &arcello(s character - somehat #eildered, am#ivalent, torn #!
conflicting impulses, tr!ing to do the right thing, ultimatel! unfaithful. 2er character
is the most s!mpathetic and appealing of the omen he characteri4es in an! of these
films. She is orth! of respect, !et she remains accessi#le and human. She is need!,
#ut her e*pectations seem to #e attuned to &arcello(s capacit! to give. +f this
relationship is as auto#iographical as most of Fellini(s ork, then his relationship ith
her as clearl! uni0ue.