La dolce vita übersetzung
la dolce vita - Deutsche Übersetzung (German translation) der Redewendung. Übersetzung im Kontext von „La Dolce Vita"“ in Italienisch-Deutsch von Reverso Context: Non penso che i piatti beige facciano molto "La Dolce Vita". Übersetzung im Kontext von „La dolce vita“ in Italienisch-Deutsch von Reverso Context: Non penso che i piatti beige facciano molto "La Dolce Vita".
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Netherlands Single Top . Belgium Ultratop 50 Flanders . Marcello meets Maddalena by chance in an exclusive nightclub.
A beautiful and wealthy heiress, Maddalena is tired of Rome and constantly in search of new sensations while Marcello finds Rome suits him as a jungle he can hide in.
On the way to the hospital, he declares his everlasting love to her and again as she lies in a semiconscious state in the emergency room.
While waiting frantically for her recovery, however, he tries to make a phone call to Maddalena. That day, he goes on assignment for the arrival of Sylvia, a famous Swedish-American actress, at Ciampino airport where she is met by a horde of news reporters.
Inspired, Marcello maneuvers forward to be alone with her when they finally reach the balcony overlooking the Vatican. That evening, the infatuated Marcello dances with Sylvia in the Baths of Caracalla.
His humiliating remark to her causes Sylvia to leave the group, eagerly followed by Marcello and his paparazzi colleagues.
Finding themselves alone, Marcello and Sylvia spend the rest of the evening in the alleys of Rome where they wade into the Trevi Fountain.
Robert slaps Sylvia, orders her to go to bed, and then assaults Marcello who takes it in stride. Marcello meets Steiner, his distinguished intellectual friend, inside a church playing Bach on the organ.
Steiner shows off his book of Sanskrit grammar. Late afternoon, Marcello, his photographer friend Paparazzo, and Emma drive to the outskirts of Rome to cover the story of the purported sighting of the Madonna by two children.
Although the Catholic Church is officially skeptical, a huge crowd of devotees and reporters gathers at the site. That night, the event is broadcast over Italian radio and television.
Blindly following the two children from corner to corner in a downpour, the crowd tears a small tree apart for its branches and leaves said to have sheltered the Madonna.
The gathering ends at dawn with the crowd mourning a sick child, a pilgrim brought by his mother to be healed, but trampled to death in the melee.
An American woman, whose poetry Marcello has read and admired, recommends that Marcello avoid the "prisons" of commitment: Outside on the terrace, Marcello confesses to Steiner his admiration for all he stands for, but Steiner admits he is torn between the security that a materialistic life affords and his longing for a more spiritual albeit insecure way of life.
Steiner philosophizes about the need for love in the world and fears what his children may grow up to face one day. He asks her if she has a boyfriend, then describes her as an angel in Umbrian paintings.
With Paparazzo, they go to the Cha-Cha-Cha Club where Marcello introduces his father to Fanny, a beautiful dancer and one of his past girlfriends he had promised to get her picture in the paper, but failed to do it.
Fanny takes a liking to his father. Marcello tells Paparazzo that as a child he had never seen much of his father, who would spend weeks away from home.
Marcello wants him to stay with him in Rome so they can get to know each other, but his father, weakened, wants to go home and gets in a taxi to catch the first train home.
He leaves Marcello forlorn, on the street, watching the taxi leave. Marcello, Nico , and other friends met on the Via Veneto are driven to a castle owned by aristocrats at Bassano di Sutri outside Rome.
There is already a party long in progress, and the party-goers are bleary-eyed and intoxicated. By chance, Marcello meets Maddalena again.
The two of them explore a suite of ruins annexed to the castle. Maddalena seats Marcello in a vast room and then closets herself in another room connected by an echo chamber.
As a disembodied voice, Maddalena asks him to marry her; Marcello professes his love for her, avoiding answering her proposal. Another man kisses and embraces Maddalena, who loses interest in Marcello.
He rejoins the group, and eventually spends the night with Jane, an American artist and heiress. Burnt out and bleary-eyed, the group returns at dawn to the main section of the castle, to be met by the matriarch of the castle, who is on her way to mass, accompanied by priests in a procession.
Marcello and Emma are alone in his sports car on an isolated road. Emma starts an argument by professing her love, and tries to get out of the car; Marcello pleads with her not to get out.
Emma says that Marcello will never find another woman who loves him the way she does. Marcello becomes enraged, telling her that he cannot live with her smothering, maternal love.
He now wants her to get out of the car, but she refuses. With some violence a bite from her and a slap from him , he throws her out of the car and drives off, leaving her alone on a deserted road at night.
Hours later, Emma hears his car approaching as she picks flowers by the roadside. She gets into the car with neither of them saying a word.
Marcello and Emma are asleep in bed, tenderly intertwined; Marcello receives a phone call. Many of the men are homosexual. The drunken Marcello attempts to provoke the other partygoers into an orgy.
Due to their inebriated states, however, the party descends into mayhem with Marcello throwing pillow feathers around the room as he rides a young woman crawling on her hands and knees.
Riccardo shows up at the house and angrily tells the partiers to leave. Paola, the adolescent waitress from the seaside restaurant in Fregene, calls to Marcello from across an estuary but the words they exchange are lost on the wind, drowned out by the crash of the waves.
He signals his inability to understand what she is saying or interpret her gestures. He shrugs and returns to the partygoers; one of the women joins him and they hold hands as they walk away from the beach.
In a long final close-up, Paola waves to Marcello then stands watching him with an enigmatic smile. Credit for the creation of Steiner, the intellectual who commits suicide after shooting his two children, goes to co-screenwriter Tullio Pinelli.
Some of the servants, waiters, and guests were played by real aristocrats. Fellini combined constructed sets with location shots, depending on script requirements—a real location often "gave birth to the modified scene and, consequently, the newly constructed set.
Fellini scrapped a major sequence that would have involved the relationship of Marcello with Dolores, an older writer living in a tower, to be played by s Academy Award -winning actress Luise Rainer.
The scene in the Trevi Fountain was shot over a week in winter: It was only after the actor "polished off a bottle of vodka" and "was completely pissed" that Fellini could shoot the scene.
The character of Paparazzo, the news photographer Walter Santesso , was inspired by photojournalist Tazio Secchiaroli  and is the origin of the word paparazzi used in many languages to describe intrusive photographers.
Marcello is a journalist in Rome during the late s who covers tabloid news of movie stars, religious visions and the self-indulgent aristocracy while searching for a more meaningful way of life.
Marcello faces the existential struggle of having to choose between two lives, depicted by journalism and literature.
A more sensitive Marcello aspires to become a writer, of leading an intellectual life amongst the elites, the poets, writers and philosophers of the time.
Marcello eventually chooses neither journalism, nor literature. Thematically he opted for the life of excess and popularity by officially becoming a publicity agent.
Journalist Marcello and a photographer named Paparazzo follow in a second helicopter. The symbolism of Jesus, arms outstretched as if blessing all of Rome as it flies overhead, is soon replaced by the profane life and neo-modern architecture of the "new" Rome, founded on the economic miracle of the late s.
The delivery of the statue is the first of many scenes placing religious icons in the midst of characters demonstrating their "modern" morality, influenced by the booming economy and the emerging mass-consumer life.
The most common interpretation of the film is a mosaic, its parts linked by the protagonist, Marcello Rubini, a journalist.
Interrupting the seven episodes is the restaurant sequence with the angelic Paola; they are framed by a prologue Jesus over Rome and epilogue the monster fish giving the film its innovative and symmetrically symbolic structure.
Other critics disagree, Peter Bondanella argues that "any critic of La Dolce Vita not mesmerized by the magic number seven will find it almost impossible to organize the numerous sequences on a strictly numerological basis".
The critic Robert Richardson suggests that the originality of La Dolce Vita lies in a new form of film narrative that mines "an aesthetic of disparity".