'I Vitelloni' has that post-war existential feel to it, and effectively transports us to a small town in Italy where five young men dream of escaping someday, but have no clear plans. There are some wonderful scenes that are easy to identify with - carousing in the street at night, walking along the beach, and dancing the night away at a party. The friends all feel a sense of bleak malaise, facing a future in a small town with nothing much to look forward to. While the older characters are hard-working models of virtue who have lives that really don't seem all that bad, the scene when Fausto (Franco Fabrizi) is put to work is priceless. His face beautifully expresses that moment when one has to face the realities of the world.
The character of Fausto dominates the story, at first as he's forced by his father into marrying the girl he's gotten pregnant (Leonora Ruffo), and then as he can't keep himself from hitting on other women. He's incorrigible and a hard guy to like; we cheer when his father (Jean Brochard) breaks out a can of whoop-ass and he's the recipient. There is something missing to the movie though. The characters are developed unevenly, most of all Riccardo the singer (played by Fellini's own brother), and sometimes the events feel a little disconnected. Perhaps that's the point though. And we really feel something for Leopoldo (Leopoldo Trieste) as he reads an aging actor (Achille Majeroni) his screenplay, only to be horrified by the latter's response. How sad that Vittorio De Sica turned down the role because he was afraid of being identified as actually gay. Lastly, we also identify with Moraldo (Franco Interlenghi), who wanders the streets at night alone, befriends a young boy, and eventually makes it out; a feeling which is amplified knowing he represents Fellini himself. Not a perfect film, but it works.
The character of Fausto dominates the story, at first as he's forced by his father into marrying the girl he's gotten pregnant (Leonora Ruffo), and then as he can't keep himself from hitting on other women. He's incorrigible and a hard guy to like; we cheer when his father (Jean Brochard) breaks out a can of whoop-ass and he's the recipient. There is something missing to the movie though. The characters are developed unevenly, most of all Riccardo the singer (played by Fellini's own brother), and sometimes the events feel a little disconnected. Perhaps that's the point though. And we really feel something for Leopoldo (Leopoldo Trieste) as he reads an aging actor (Achille Majeroni) his screenplay, only to be horrified by the latter's response. How sad that Vittorio De Sica turned down the role because he was afraid of being identified as actually gay. Lastly, we also identify with Moraldo (Franco Interlenghi), who wanders the streets at night alone, befriends a young boy, and eventually makes it out; a feeling which is amplified knowing he represents Fellini himself. Not a perfect film, but it works.