I don't much care about the stuff Fellini cares about, nor does Masina do anything for me, but it is a rather pretty film and some of the comedy worked for me.

If I could eat any film, it would be this one.

630

After the brilliance of 8 1/2, this followed as crushing proof that Fellini was fallible, and possibly full of horseshit. Beautiful horseshit, to be sure --a kaleidoscope of colors and silky camera movements make it go down smoothly when you're looking at howling and leering freaks prancing around in someone's head.

a confusing, but brilliant movie. the surrealist imagery is done to an extreme, but it doesn't have the pitfall of most like it's kind--it remains coherent and entertaining. generally well acted, and fellini always did know his way around a video camera.

Very good, but I liked this much less than other Fellini movies. It was difficult to connect or empathize with the main character, when you're not sure what's reality. Some wonderful scenes, though, and beautifully shot.

"Giulietta Masina's mind is approached by the Felliniesque treatment, or as Ebert says, by what Fellini wishes or imagines his wife would enjoy and experience."

#533

It's like a mix of La Dolce Vita (with an ever creepier wardrobe) and the typical Fellinian dreams and quirks but with only a loose plot tying it all together. I couldn't really care for Masina's character at all which would be crucial in this sort of film, most of the time I was just waiting for it to end. Overall it's a visually striking film (the rainbowish Technicolor is amazing) but it's pretty dull otherwise and it's certainly not my type of Fellini.

This is Fellini at his quirkiest, most whimsical and colorful. The plot is simply far inferior to that in films like La Strada or Nights of Cabiria, but there is a lot to adore about the arresting, ingenious visuals, Nino Rota's penetrating musical score, and the sensuous, playful mood that results.

Beautiful and interesting to look at. But nothing really happens and besides the imagery it's not impressive to me at all. Masina doesn't fit the character here.

# 726

Not Fellini's best but I found it strangely appealing.

I do not really like Giulietta. In La Strada she was magnificent though.

I couldn't look away, the thought never even entered my mind for its entirety. Here we have some of the simplest material for this director, but he does it in the most multifaceted (and, of course, extravagant) manner imaginable.

I found myself extremely stuck with this picture. A lot of the imagery, and plot lines really confused me, to the point where sometimes, I had no idea what was happening, but at the same time, I was glued to the screen. It was extremely hard for me to turn away. Juliet of the Spirits explores so much, by thoughts, by words, by images, and though I didn't and don't understand everything, I felt extremely appreciative to Fellini for making such a work of art. Brilliant.

There's a lot to love: the Rota score, the eye-popping Technicolor cinematography, the amusing flights of fancy, the endless array of unique, unforgettable visuals. Several times I found myself gasping in awe or delight at what I was witnessing. However, Masina's performance often gets overwhelmed by the carnival-like festivities. I found it much harder to care for Juliet like I do for Cabiria. And the minor characters do so much theatrical mugging for the camera. It occasionally gets tiresome.