Sylvia's character in Fellini's La Dolce Vita appears to be an early rendering of the "Manic Pixie Dream Girl" archetype that has been used heavily by filmmakers since the mid-twentieth century. Nathan Rabin, the film critic who coined the term, describes the MPDG as a "free-spirited life-lover" who exists to uplift unhappy men and teach them life lessons in the process. In St. Peter's dome, Sylvia is described as an "elevator": she darts to the top of the cathedral, leaving a trail of panting men in her wake. No one can match her energetic pace, and when Marcello finds her at the top, she is intensely focused on savoring the view. She is passionate in everything that she does.
Later in the film, she dances and captivates all of the men at a party, irresistibly sexy and exorbitantly bubbly. After leaving the party, she wades into the Trevi fountain fully clothed in the middle of the night. Her behavior is nonsensical and fantastical; she is more similar to a nymph than an actual woman. However, she helps Marcello forget about his wife's overdose and illustrates for him what it means to live the "sweet life." She serves as both a sex symbol and a spirit guide in the film.
I am intrigued by Hayley's description of Sylvia in relation to what we discussed in class today about whether or not Sylvia is the innocent contrast to the decadent and corrupt splendor of those around her. I thought this was an interesting way to view Sylvia's character but I also felt the opposite could be argued. In other words, Sylvia is not innocent but rather is the epitome and embodiment of the decadence and extravagance of her day. I think it is further interesting that a character like her can be interpreted different ways by different people.
ReplyDeleteThe fact that Hayley and Kara are able to disagree about the interpretation of a female character highlights the brilliance of La Dole Vita. In italian films before this, women were static characters. The audience unanimously knew their purpose in the film. La Dolce Vita begins to break away from this mysogynistic mold and creates female characters with more depth. Although the complexity and depth of the females in this movie still do not rival the depth of the male characters, La Dolce Vita still takes a step in the right direction. Fellini strayed from the norms of female characters, helping to establish La Dolce Vita as a timeless classic.
ReplyDelete- Severino
Hayley's description of Sylvia as an embodiment of the "manic pixie dream girl" archetype complicates the structure of gender roles throughout the film. Indeed, Sylvia's ability to "lift" men indicate a form of power and agency that is not prevalent in other films we've viewed. Yet, her status as a sex symbol suggests Fellini's objectification of attractive female characters. How can viewers reconcile such objectifying and "empowering" characterization of a female character? Sylvia is a sex symbol with (subtle) power--to what extent does La Dolce Vita hint at or contradict early Italian feminism?
ReplyDelete-Elizabeth