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Nice effects though.

While it doesn't offer any answers, it both thrills and makes you think.

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Exactly the movie you think it is, but not the movie you want it to be.

This is in fact the first Fellini feature film that I've watched. Basically i was expecting a weird and psychological film, and it delivered exactly what i was expecting plus an excellent soundtrack and great cinematography. It's a work of a genius in my opinion. It has a very slow start, but it is very important, because it shows how 'boring' and sad the life of the protagonist is and how her life works. She is a repressed woman, who never had any liberties on hislife because of the rigid authoritarian education that their parents raised her into. And the story really starts when she started to become suspicious of her husband, that probably is in an extramarital affair. And the story just became weirder and weirder at each scene. But then is also when you start to really get the meaning of all the crazy hallucinations.What i found fantastic was the way the hallucinations are presented in the film. The editing is purposely made in a way that we can't distinguish what is fantasy and what is really happening in the life of Julliete. Just after a while you really get what is happening. A different approach than in the other films of that subject, which made clear to the viewer what is real and what is pure fantasy created by the character. The cinematography and art direction are phenomenal. The beauty and the horror in the images are at same time fascinating and repulsive. Unbelievable. A work of a master, i must say. Because it's exactly what the protagonist think about the images as well. At the same time she wanted to live in the luxury, sinful way, but she as well learned that this kind of life it's wrong and despicable. The soundtrack by the great Nino Rota just adds to it, of course. Definitely a work of art! 9.6/10

I have a lot of admiration for Federico Fellini and his films. His style is not for everybody, people will find it fascinating complete with beautiful visuals, a personal and nostalgic sense of storytelling and characters that are not what they seem on first glance, but others may find him/them self-indulgent or dull. While I can understand the latter viewpoint, I belong in the those who find him/them fascinating camp.Juliet of the Spirits is not my favourite Fellini film. My pick for best is between La Dolce Vita and 8 1/2, though I also give Nights of Cabiria a big shout out for being the film that resonated with me the most emotionally. Amarcord and La Strada are also splendid. In fact of the nine films seen so far(including this, Casanova, Roma and Satyricon) even my least favourite so far, Satyricon which I found his weirdest film and a little disjointed, have many points of merit.A perfect film? Not quite for me. I did feel that a few scenes did feel less focused than others in terms of tone and that a couple dragged. Then again, like with all Fellinis, I think a couple of re-watches might do the trick.But Juliet of the Spirits has many things to admire about it. While not all the scenes worked entirely for me, I found the mix of dreams, Jungian psychology, spiritualism and astrology very interesting, if perhaps not as spellbinding to watch as 8 1/2, and much more even and less jumpy in structure than Satyricon. The characters I was at least engaged with, I didn't quite identify the whole step of the way with the titular character completely like with Nights of Cabiria and La Strada, but again unlike Casanova I didn't find her a detached character either.Visually, Juliet of the Spirits is stunning. The use of vibrant colours, beautiful settings and colourful costumes are as ever a feast for the eyes. Fellini's direction is overall superb, the films I cited as my favourites in the first paragraph, as well as Roma, had more of a personal and nostalgic value, but the sense of craftsmanship and care that goes in every film of his I've seen really shines through here. Nino Rota's score is bright, characterful and not too obtrusive.Giulietta Masina is a big part of why Juliet of the Spirits works very well on the whole. Her ever expressive face makes for a both spirited and moving performance. The supporting cast support her well. All in all, an interesting and very good film if falling short just of greatness. 8/10 Bethany Cox

Fellini, after his two 1960s famous productions, LA DOLCE VITA and 8 1/2, made GIULIETTA DEGLI SPIRITI (1965), not only his first color film but a unique surreal work at various levels of analysis. While the two earlier movies dealt with the psyche of the male characters portrayed by Marcello Mastroianni, this movie deals with the psyche of a middle aged wealthy woman portrayed by Giulietta Masina, not only an actress - someone much more important: Fellini's wife who was at his side throughout his career. Yet, this is the film where Fellini becomes pretty vague, psychedelic towards viewers, but, at the same time, very friendly and sympathetic towards Giulietta. When I saw this film as a 17 year-old youngster, I did not like it. Now, however, when I see it again after 12 years, it appears much more artistic and clearer to me.This is a sort of film that real connoisseurs of art will find ambiguous. Its entire content as well as its core idea have been, for all these 42 years, a true mystery: why the odd experience of the main character's mind affects us so powerfully, so magically? Fellini does not give final answers, he never does in his movies, he never forces us to like him - he invites us for the journey to the psyche. He introduces to us a profound insight into the very peripheries of a mind of the main character. Giulietta (Giulietta Masina) copes with a problem: her husband Giorgio (Mario Pisu) has a mistress. Some advise her to be a temple of love for her husband, some tell her to relax and ignore that, some prompt her to make more weird fun of life, to let out desires: these are the spirits who visit her, the spirits of her past and, supposedly, her presence. The transfers from reality are sometimes fluent, yet sometimes vague. We see various images derived from Giulietta's imagination where Fellini becomes very erotic like in his later work SATYRICON and uniquely egocentric like in no other of his movies. He claimed to have taken LSD before filming some scenes and therefore, the movie is at times extremely weird and pretty terrifying.Because of its purely Felliniesque nature characterized as blending reality and fantasy, GIULIETTA DEGLI SPIRITI is not for everyone. It's, similarly to 8 1/2, rather a PSYCHOLOGY than LINEAR CONTENT and STORY. There are flashbacks, there are dreams, there are, foremost, fantasies. Moreover, this is yet another time Fellini has manifested his opinion about an individual within a decadent society. He seems to criticize social situations, its noise that looks for rest in magic and sensation. Meanwhile, he identifies with the characters, he understands them. It's at the same time, a biographical movie where, again, Fellini attempts at addressing the conscience of forgiveness to the female character in a marriage. Therefore, such short comments will never discuss the movie justly because it has to be deeply analyzed.All those are resembled in many beautifully photographed scenes. For instance, I'll never forget the first 40 minutes of the film when we have a clear presentation of the characters and events of everyday life that have a serious impact on Giulietta's psyche. She is preparing a romantic party on the wedding anniversary; yet, her husband invites many noisy people to their house: various people, all bored with their wealth looking for more ecstasies. She does not show anger nor dissatisfaction and says to herself in the mirror: "At least don't be led to crying!" In Giulietta's house, they organize a meeting where they call spirits who post messages: "love for all" or "harlot" addressed to one lady whose aim in life is to sculpt, cook and make love. There is also a message for Giulietta: "Poor child, no one cares for you!" From this moment, Giulietta feels lost. She takes the words seriously and this leads her to a series of mental states that bring her to the very edge of hope, the very peripheries of mind; yet finally to a beautiful catharsis. Here, I would mention the character of Jose (Jose Luis De Villalonga), Giorgio's friend who offers Giulietta the drink, Sangria, and who gives her a beautiful advice about simplicity and water.The performances are brilliant. Giulietta Masina does something really extraordinary in this movie. It is the third Fellini's movie after LA STRADA and NIGHTS OF CABIRIA where she was cast in the lead and here, we clearly see a mature woman absorbed by the naiveness of a child. She partly reflects Gelsomina and partly Cabiria; yet, Giulietta is neither the LA STRADA nor NIGHTS OF CABIRIA character: she is unique. In my opinion, Masina's Giulietta is one of the very best female roles in the history of cinema. Other great cast are Valentina Cortese as magic-absorbed Valentina, Sandra Milo as sensual woman of fantasies Suzy, Mario Pisu as the unfaithful husband and Lou Gilbert as the grandfather.There is, however, a harmful aspect of the movie, too. What I mean by "harmful" is that the whole story does not have a more profound development of the consequence, a "moral" that always makes art more "ordered" and "available" for human mind and thought. Creativeness of order leads to harmony of art and Fellini ignores that in the movie. There is a cry for the reference to the sublime self assessment of human mind and actions. Why does Giulietta regain hope? What is the gist of those spirits in a life? What is the power of her psyche? Such questions may appear after seeing the film and may leave a viewer confused at times.All in all, this is an important movie, a truly Felliniesque one. Although it is not my favorite work of the director, GIULIETTA DEGLI SPIRITI is, undeniably, a work of art thanks to its uniqueness, its performances, photography and direction.

A woman daydreams has visions and contemplates leaving her cheating husband.I first saw this in a high school film class. I had no idea what to make of it. It seemed to me mystical strangeness of a highly personal sort. This wouldn't be surprising since Giulietta Masina, the star of the film was Fellini's wife. This seemed to be a more obtuse companion to Fellini's 8 1/2. Seeing it again for the first time in 25 or so years I'm left feeling that its mystical strangeness of a highly personal sort. Its very much of the time and place (European cinema in the mid 1960's) and I can't see it as anything more than that. The film to me seems very manufactured rather than organic. There seems to be no sense of reality, just artistic compositions- look at any sequence, the opening where Juliet never looks at the camera, the beach where everyone is perfectly placed- and its tableau not real scenes. I know thats the point that the film is a reflection of Juliet's state of mind, but at the same time its so arch and reaching for meaning it becomes almost laughable. I remember having discussions about the film and what each bit mean. I'm not sure any of the pieces really mean anything.I always had fond memories of this film. I remember liking it more than 8 1/2, and arguing that the film is more hopeful (a view that was not held by my teacher). Seeing it now I see it as incredibly sad. Here's a woman who is so stuck in her world that she can't see to leave. Its a story thats happens everyday, but isn't as earth shaking now since this is a story of when that was not really done (especially in Italy at the time). I don't think I will have such fond memories after this viewing.Interestingly looking at the film for the first time in years I was struck by a complete understanding of why Fellini has fallen out of favor in many people's eyes. To be certain he turned out many great films, but at the same time he developed a quirkiness that while producing visually arresting films, also made a bunch that made you wonder what he was up to. This is one of those that make me wonder what he was up to.5 out of ten for the odd bits that work and because Fellini was a master, even if he's fallen out of favor