Watch And the Ship Sails On For Free

How sad is this?

best movie i've ever seen.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

E LA NAVE … certainly deserves a place of honor is the master's creation—as the most eerie, genuinely Goyesque and intriguing rune, a surrealist and twisted vision using profuse intuitions and ambiguous understatements. That's why few movies can match this one. It does not require maybe that much expertise to acknowledge what a thoughtful movie this is, and, beyond being thoughtful, from what depths of genuine intuition it does proceed.E LA NAVE … is one of the buff's exams—the master has long ago already passed his exams, and now the buff faces this one—what will he/ or she, fair reader, make of this bizarre, strikingly funny, surrealist _capriccio ,once its very visionary nature is acknowledged and brought to full admission? Me, I'm a man aged in such Fellinianisms. I recognize quickly the artifacts of the surrealism contrived and forced; I can testify for the authenticity of the Fellinian creative intuition in E LA NAVE …;it's a fever of the Fellini—beyond—Fellini, at a stage without sentimental-isms and heartache; a coherent world-view, a satire and a bitter comedy. Maybe, just maybe, a surrealist cosmogony as well.Already in Fellini's time, cinema was long ago validated as art. There was no word of acknowledging or validating it as art; Fellini already comes after some giants. Nowadays as in Fellini's own time, some people, less discerning, seem eager to recognize DAUGHTER OF HORROR (which I comment on this site) as genuine surrealism—but to a lesser degree E LA NAVE …; now that's awkward. Because here Fellini the wizard went beyond ambitions and achieved this part—Goyesque part satirical take on a world long ago abolished and drowned; and some of those who know at least some of the important Italian cinema of the '70s and '80s (things like the Ottaviani brothers, the Avatti, and the master Fellini himself) will not fail to recognize rather promptly this blend and also this special flavor of temerity and decadence.Now of course most do not even need this; yet I would insist of taking by the hand the unconvinced few and dip them a little in this—what shall we call it—in this primordial soup, in this _cosmographic sketch. I bet you do not know many other musical sequences in the cinema as good as the glasses session in the ship's kitchen. They are good, are they not? You had some fun. Or the countless jokes issued by the master's inventiveness—beginning of course with the silent scene right at the beginning, before the color shift.The final Fellini was somehow the mellower; understandable. Do not be fooled by the down-talkers. They ignore the trade. Maybe those used with the first Fellini—or with the first Fellinis, should one say—failed to adapt and change. But for me, after the '60s Fellini only got better—if such a thing were possible. In E LA NAVE … there's nothing phony or fake; on the contrary, it's creepily genuine.Enjoy the style, the movement, the atmosphere, the approach! I have mentioned the scene of the glass concerto; there, the cinematographic phrase itself dances. What Fellini delivers here are not a few gimmicks and tricks but an original take. Here at least some schmucks who pretend to direct movies could learn at least some of the externals.

There is a roll of directors of whom one must claim to be an encomiast, if one wants to be held as an intelligent, sensitive person. Regardless of one's inner and uncontrollable reactions to their work, the mandatory comments as the credits go by are "what a masterpiece!", "best Italian director ever!", "delightful and subtle!" and the like -- well, unless there is no one around. Thus, let us leave the unqualified praise to the wannabe intellectuals and talk sincerely about this one."And the ship sails'" famous opening sequence may look interesting when you hear of it, with its silence and sepia colors ushering you into 1914, but watching its lousy sketches amid Italian proverbial disorder is not exactly thrilling. After the first metalinguistic appearance of the journalist Orlando and a short singing by the passengers, they go aboard, the ships leaves port, and the movie actually begins.The music is splendid, and the scenery and the costumes do not fall short of it. A scent of affection and artificiality pervades the whole movie, but that is quite inevitable with all that opera singing. To my surprise, the meta-linguistics represented in the journalist's character does not hamper the natural flow of the sequences. On the contrary, his peaceful nature sets a welcome contrast with the austerity around him.A real contrast, though, only takes place as the Serbians refugees are sheltered on the ship. Not that it is thoroughly explored by Fellini. Truth is, surprisingly as it may seem, he never abandons a rather superficial display of the relations that develop above the sea, both of the passengers between one another and between them and the Serbians. Sociology is not to be found here; beauty and pureness is what this movie is about.

first five minutes of `E La Nave Va` was what attracted me most from this movie (not meaning that the rest of it was not interesting). i thought that it should be a silent movie but then i realized that there were some inaudible voices coming from the background. then i asked myself whether there's a problem with the sound system or not. but just as i was thinking about this, voices started to be audible. and the black and white movie became coloured when the ashes were taken to the ship with ceremony. i guess the purpose of using black and white and silent cinema techniques before the ship scenes was to underline the fact that the important factor in the film was the ship itself. life without the ship was black and white (probably meaning boring and full of cliches). but when we enter the world inside the ship (or when we enter the world through Fellini's eyes), we see that there are lots of differences from reality. and that makes the ship coloured! Fellini had created so many symbols including the rhinoceros and the ship itself. but these symbols are not so clearly defined so after watching the film, the audience leaves with some question marks. even if you are not interested in the plot, watch this for a good visual treat. Fellini has reminded me that the cinema is an art which underlines the importance of visual structure.

This film combines whole elements that summarize the meaning of greatness.A moving masterpiece that explores every aesthetic possibility given by Cinema. Image, sound, music, movement, narration, color, tonality, character, humor, drama. A venture towards artistic sublimation within a story of exquisite taste.