La Dolce Vita is the movie that piqued my interest in foreign film. I first watched the Fredrico Fellini classic in college twenty years ago. I was immediately taken in by the beautiful black-and-white cinematography of Otello Martelli. More than fifty years after its original release, this tale of one man torn between the decadent lifestyle of the aristocrats and celebrities he covers, and a yearning to live a more “meaningful” existence remains one of the most influential films in history.

As the film opens, a helicopter carrying a statue of Jesus swings across Rome, high above the ruins of the Coliseum. It pauses over bikini clad, sunbathing girls so its occupants can shout, “We’re taking it to the Pope,” then try to get the sunbathers’ phone numbers. Certainly, a memorable opening shot, it also serves to let the audience know that the people involved are part of a new generation of jetsetters, not particularly concerned with society’s rules and conventions.

One of the men in that helicopter, Marcello Rubini (Marcello Mastroianni), a frustrated writer, has been reduced to tabloid journalism in order to make ends meet. He drives a convertible, wears black sunglasses, is almost always wearing a suit, and seems to know everyone in Rome. We are introduced to the shallow inhabitants of Roman society, after dark. The streets are teeming with aristocrats, models, showgirls, second-rate movie stars, homosexuals, nymphomaniacs, etc. Shown to be neither bad, nor good, Fellini doesn’t pass judgment on them. Instead, he paints them as simply part of the seductive nightlife; worth risking you’re personal and/or professional life to be a part of for just one night.

Marcello’s profession, as well as his good looks, gives him easy access to the rich and the beautiful. He takes full advantage of the opportunities offered, escorting glamorous American movie stars like Sylvia Rankin (Anita Ekberg) around to nightclubs, accompanying the cultural elite, and visiting the homes of the aristocracy. Marcello has been seduced by the glamour of it all, he wild parties, and the easy sexual conquests, but it’s becoming increasingly empty and meaningless for him. Episodic in nature, La Dolce Vita covers seven days of complete excess, each morning-after increasingly more sober than the last.

As the film’s title suggests, La Dolce Vita offers an ironic look at the decadent lives of the rich and famous, the film is wider in its scope. Not only does the film examine the way sex, drugs, and alcohol are used by many to cover up the insecurities of the celebrity lifestyle, but also deriding the supposedly respectable attitudes of the Roman people. Marital infidelity is not only accepted, but expected. While visiting Rome for the day, Marcello’s father enjoys the attentions of a dancer from a nightclub. He also tells of a time he picked up a dancer with long, beautiful legs who turned out to be a man. Marcello himself is no stranger to prostitutes, and they tend to live in the darkest slums of the city. The lesson: the glitz and glamour covers up a rather dark reality. Even though the intellectuals living ‘the good life’ are aware of this reality, even they have no answers to combat the dissatisfaction that affects them all.

Marcello refers to his friend—a photographer who works with him and aggressively competes with other photographers in order to get a celebrity photo—”Paparazzo.” La Dolce Vita will forever have a place in the cultural fabric for giving us the word, “paparazzi.” To see the way these photographers hounded their subjects in 1960 is to anticipate with horrific incidents several decades later. It’s hard to watch the paparazzi in the film chasing after Marcello and Sylvia, and not think back to Princess Diana’s untimely death.

At nearly three hours, La Dolce Vita is probably not going to appeal to the average filmgoer. For those willing to stick it out, there’s enough depth and symbolism to keep it in your days after viewing. Everything from Marcello Mastroianni’s performance to Nino Rota’s classic score is an exercise in brilliance. If you enjoy film’s that have something to say, La Dolce Vita should be at the top of your watch list.

Presented in the 2.35:1 aspect ratio, this 4K 1080p restoration is quite impressive. Contrast is striking, showing of some very rich black levels throughout. The image has a nice thickness that gives the impression of real film grain. At the same time, the wider panoramic shots have a nice fluidity to them. Any real marks of damage or debris have been removed as best as possible. A few minor age-related imperfections remain, but they are small, and don’t interfere with the overall viewing experience. All-and-all, this is an excellent transfer.

There is only one standard audio track on this Blu-ray release: Italian LPCM 1.0 (with some very small portions of English). Criterion has provided optional English subtitles for the main feature.

The presentation is excellent throughout, providing nice depth and clarity. Nino Rota’s score is given nice separation. Overall, the dynamic intensity is a bit lacking, but everything from dialogue to ambient sounds is crystal clear.

The following extras are available:

  • The Eye & The Beholder (HD, 9:32) In this visual essay created by filmmaker ::kogonada for Criterion in 2014, framing, and camera movements in La Dolce Vita are the focus. It offers comparisons between different sequences from it and similarly framed sequences from other classic films (Francois Truffaut’s The 400 Blows, and Jean-Luc Godard’s Breathless).
  • Federico Fellini (HD, 30:07) In this 1965 interview, conducted by Irving R. Levine for NBC News, Fellini explains what inspired him to become a director, and discusses his experience as a journalist, his reluctance to discuss the messages of his films, the enormous impact Charlie Chaplin and Roberto Rossellini’s work had on him, the ideal circumstances for making a film, etc.
  • David Forgacs (HD, 14:29) In this interview conducted exclusively for Criterion in June 2014, David Forgacs, a film scholar, discusses the socio-economic situation in Italy when La Dolce Vita was being filmed.
  • Lina Wertmuller (HD, 7:25) An assistant director on La Dolce Vita, Wertmuller discusses what it was like working with Fellini, and the ending of the film. The interview was conducted exclusively for Criterion in June 2014.
  • Antonello Sarno (HD, 15:51) Conducted exclusively for Criterion in June 2014, Italian journalist Antonello Sarno discusses the unique atmosphere in Rome during the late ’50s and early ’60s, Federico Fellini’s relationships with producers Dino De Laurentiis and Angelo Rizzoli, production designer Piero Gherardi’s valuable contribution to La Dolce Vita, and the fashion trends the film inspired.
  • Marcello Mastroianni (HD, 47:19) In this 1963 audio interview with film historian Gideon Bachmann, Mastroianni recalls his first meeting with Fellini, discusses the various characters he’s played in his films, the advice Fellini had for him, and more.
  • Felliniana (HD) A presentation of La Dolce Vita ephemera from the collection of Don Young—posters, lobby cards, and press books and more. If it’s related to Fellini, this guy probably has it!
  • Leaflet: Illustrated leaflet featuring Gary Giddins’ essay “Tuxedos at Dawn” and technical credits.