Synopsis
There has never been a face quite like that of Giulietta Masina. Her husband, the legendary Federico Fellini, directs her as Gelsomina in La strada, the film that launched them both to international stardom. Gelsomina is sold by her mother into the employ of Zampanò (Anthony Quinn), a brutal strongman in a traveling circus. When Zampanò encounters an old rival in highwire artist the Fool (Richard Basehart), his fury is provoked to its breaking point. With La strada, Fellini left behind the familiar signposts of Italian neorealism for a poetic fable of love and cruelty, evoking brilliant performances and winning the hearts of audiences and critics worldwide. The Criterion Collection is proud to present La strada, winner of the Academy Award for Best Foreign Film in 1956.
Cast
| Gelsomina Di Constanzo | Giulietta Masina |
| Zampanò | Anthony Quinn |
| The Fool | Richard Basehart |
| Widow | Aldo Silvani |
| Nun | Livia Venturini |
Credits
| Director | Federico Fellini |
| Screenplay | Federico Fellini and Tullio Pinelli |
| with the collaboration of | Ennio Flaiano |
| Based on a story by | Federico Fellini and Tullio Pinelli |
| Dialogue | Ennio Flaiano |
| Director of photography | Otello Martelli |
| Music | Nino Rota |
| Editing | Leo Catozzo |
| Assistant director | Moraldo Rossi |
| Production director | Luigi Giacosi |
Disc Features
- New high-definition digital transfer, with restored image and sound
- Video introduction by Martin Scorsese
- Audio commentary by Peter Bondanella, author of The Cinema of Federico Fellini
- Federico Fellini’s Autobiography, a 2000 documentary originally broadcast on Italian television
- Optional English-dubbed soundtrack featuring the voices of Anthony Quinn and Richard Basehart
- New essay by film scholar Peter Matthews
- New and improved English subtitle translation
- Optimal image quality: RSDL dual-layer edition
From the Current
La strada
by Mar 7, 1988A low-key mood study about a broken-down carnival strongman and his half-wit assistant traveling through the bleak backwaters of post-war Italy wouldn’t, at first glance, appear to have much going for it in the way of international critical and commercial appeal. But from the moment of its release . . .
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