Rome for individuals who are not consumed by reputation and success, suffer the misery and torment the city in turn promotes. Finally, La Dolce Vita creates a cultural reality that is ignored by those who are absorbed by fame, but henceforth exposes the artificiality constructed within Rome and the suffering the city causes those who see its modernism for what it truly is. Various on set locations are used throughout Rome which Fellini employs as a way of exploring the city’s past and present, but this in turn becomes corrupted as cultural and religious history is disregarded by modern society. Privacy and publicity are also conflicting concerns for the welfare of celebrities, as many struggle to live a discreet life as the city is inhabited by paparazzi. I will discuss how these issues in turn depicts Rome as a catalyst for public figures like Marcello, but overlooks the poverty and suffering still present from the war which resides in the outskirts of the city. The film focuses on the portrayal of a glamorous and corrupt Roman society which disguises its misery and creates an artificial world where celebrity culture thrives.
Shot in 1960, the post-war reconstruction of the city’s culture and aestheticism created a new atmosphere for society to restore itself, and Fellini harnessed this as a way of exposing the societal issues behind Rome’s reformation, and the marginalisation it advocated. Federico Fellini’s La Dolce Vita presents Rome as an impetus for both suffering and pleasure, and unites both urban expansion and desolation as a way of highlighting these contrasting emotions.
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