Summary
Artfully constructed, I Vitelloni (roughly, "the layabouts") weaves in multiple storylines while managing to feel casually episodic. But it's [Federico Fellini]'s handling of individual scenes that's most memorable. Early on, when [Fausto]'s father confronts him with [Sandra]'s pregnancy, Fellini moves seamlessly from broad domestic comedy to dramatic turbulence to sportive laughter, all within a handful of splendidly framed shots. A carnival scene gives a vivid sense of the style that would come to be labeled "Felliniesque," while a chance early morning encounter between a partied-out Moraldo (Franco Interlenghi) and a much younger though gainfully employed boy is simply and quietly moving. It all climaxes emotionally not so much with Fausto being brought to heel, but with a wondrous concluding sequence in which one character, leaving town by train, envisions his friends left behind, asleep in bed, caressed by slow, tender pans of the camera.
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Extract
I Vitelloni; the Men Who Would Be Boys
The young cartoonist Federico Fellini got his start in movies writing scripts for some of the great neorealist directors of Italy's postwar period, ...
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