On the other hand, when she has to enter or pass through a dark room, she stands for a moment at the threshold looking in with narrowed eyes. She’s far from graceless but she sometimes moves with a child’s gracelessness, like Masina-that physicality, impetuosity of expression and utterance, a mischievous delight in small wonders and small triumphs. When she gets excited she bounces on her toes and hugs me around the waist, looking up at me. She’s small and she likes to refer to herself as my little wife, but she’s solid too, and fit, with strong legs: in the WNFL she’d be a halfback. But pulling his films off the shelf one by one, my wife and I agreed the problem was most nearly solved, onscreen and in life, by his wife and best collaborator, the tiny and brilliant Guilietta Masina.įor any of this to make sense I’ll have to say a little about what Lola, the woman in my life, is like. Still, throughout his work, the search for an ideal of womanhood is represented in a series of large and buxom temptresses: Anita Ekberg, Sandra Milo, Eddra Gale in an especially memorable dance sequence as La Saraghina. It’s obvious she could be his salvation.” Between the breathy declaiming and 8½’s famous layers of metafiction, you get the idea that even Fellini sees this isn’t exactly a healthy attitude. Near the end of 8½, his alter ego speaks of a kind of Ideal Woman: “She’s beautiful … young, yet ancient … child, yet already woman. Photo: Studio PatellaniĪmong the central occupations of Fellini’s work is what he wants from the women in his life. Fellini and Masina on the set of La Strada, 1954.
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