Rating: 
Summary: Easily among the Top 10 films of all time
Review: Before Fellini entered into his abstract, metaphorical fantastical body of work, everything was stripped away in this heartbreaking story of circus strongman Zampano (Quinn) and his meek and loyal assistant Gelsomina (Fellini's wife Giulietta Masina), whom he takes out his misery and fustrations upon through constant abuse. While Richard Basehart's 'Il Matto' serves to distract him from his usual victim Gelsomina, it is only temporary, which leads towards a tragic conclusion. If you want to see filmmaking and storytelling at its most basic and effective, 'La Strada' is a must.
Rating:
Summary: Who can give it four stars?
Review: I checked all reviews and found only one gave 4 stars to this masterpiece. There are only a few films I feel this way:how can I give only four star to this? If I have to choose Top 10 movies, it will be there. It may be among top five. Beautiful, moving...I shed tears when I was 4th grader (until my freshman day when I saw De Niro was struggling to carry his armers in Mission, I have remembered the day I saw La strada as my last 'watching movie & crying' day ^_^)
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Summary: Fellini, Is HERE!
Review: A man of uncommon strength, who lives on the road and makes his living as an entertainer performing feats of strength, but who masks the emptiness of his life with a perpetual show of bravura, is the focal point of "La Strada," directed by Federico Fellini and written by Fellini and Tullio Pinelli. It's the story of Zampano (Anthony Quinn), who travels from town to town, eking out a meager living by passing the hat after each performance, which consists mainly of wrapping a quarter-inch chain made of iron around his chest, then breaking it by expanding his lungs. In his endeavors he is assisted by Gelsomina (Giulietta Masina), a simple-minded young woman who is devoted to this selfish man endowed with little more intelligence than she. The tragedy of Zampano is that while he seeks fulfillment in meaningless carnal pursuits and the hollow acclaim of strangers, the happiness that eludes him is at hand; but his own self-deception prevents him from recognizing what a treasure he already has in Gelsomina. One of Fellini's earliest films, there is a straightforward, almost simplistic richness to his style, both visually and narratively, that is devoid of the surreal atmosphere with which he invests his later projects. Still, the mood he creates is mesmerizing, aided to a great extent by the haunting theme and score by Nino Rota. It is a story that gradually draws the viewer in through the sympathy evoked by the gentle innocence of Gelsomina, whose purity of spirit is seemingly in such stark contrast to that of Zampano. Watching her respond to his unthinking brutality of her with unadulterated kindness, time after time, is heartrending; and in the end, when Zampano ultimately secures our sympathies as well, it seems almost contradictory, though contextually just. As Zampano, Anthony Quinn gives what is arguably one of the best performances of his career; with depth and nuance, he creates the epitome of the brutal simpleton, a man whose lack of wit forces him to exist by the most basic of instincts. And Quinn conveys it all so perfectly, both physically and emotionally; it is an inspired, memorable performance. But without question, the true heart of the film is provided by the wondrous Giulietta Masina. What a superb, unforgettable performance; everything about her is totally engaging, beginning with the supple roundness of her face, which accentuates her expressive eyes and winning smile. Her Gelsomina is so lithe, her presence so angelic, that at times it seems as if she is about to float up off the screen. She conveys such compassion and vulnerability, such warmth of being, that it becomes impossible not to lose your heart to her. It is quite simply an irresistible, truly heartwarming performance. Also, in an exceptionally effective supporting role, is Richard Basehart, as Il "Matto," the "Fool." A tightrope walker by trade, the Fool is the antithesis of Zampano, a lighthearted soul who befriends Gelsomina and becomes her voice of hope and logic, while at the same time manifesting a taunting, challenging and unwelcomed presence to Zampano. Ironically, it is the Fool who becomes the catalyst for the tragedies that ultimately befall Gelsomina, and finally Zampano. The supporting cast includes Aldo Silvani (Il Signor Giraffa), Marcella Rovere (The Widow) and Livia Venturini (The Sister). An earthy, thought-provoking film, "La Strada" is one that will linger on sweetly in your mind's eye; the images and impressions it creates may, with time, dissolve-- but the essence of it will remain with you always. For once Fellini has touched you, it is forever.
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Summary: A Fellini for Fans and Non-Fans Alike
Review: I've never been able to warm to most of Fellini's "classic" films: a few memorably imaginative sequences lost in a deluge of party scenes and idle chit-chat. "La Strada," however, is a remarkable and beautiful accomplishment. Giulietta Masina's lovable conflation of Charlie Chaplin and Harpo Marx is both endearing and moving; rarely has a simple-minded but good-hearted character been portrayed with such sensitivity. Anthony Quinn is equally fine in his own way, and the film makes a strong impression that is not easily forgotten, even days (or years) later. Just wonderful.
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Summary: Felleni's most emotional film
Review: This is Federico Felleni's masterpiece. It is much more accesible than many of his other films, and although most of them are wonderful movies in their own right, this one exceeds them. This is the only Felleni film, and one of the only films ever, where I was so deeply moved that I was in tears by the last scene. To understand this movie is to gain great insight into the fragile human condition. We watch as the innocent, beautiful-faced Gelsomina slowly teaches the brutal Zampano how to love. But tragically, once he learns, it is too late, and he has destroyed the only chance for companionship and love he had ever been given. The film is so simple and powerful, one cannot help but feel compassion for the young Gelsomina, pity for the Fool, and in the end, terrible sorrow for the utterly helpless and lonely man Zampano becomes.
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Summary: A real gem not to be missed
Review: One of the best films you'll ever see. Anthony Quinn is great as a small time circus performer going from city to city performing his same routine of breaking a chain for handouts from the crowd. He buys Gelsomina from a poor distraught family who previously sold him another daughter Rosa who died recently. Gelsomina is an irresistable, cute, Charlie Chaplin-like assistant to the brutish Zampano, who views her as a necessary part of his trade, but treats her coldly. His cruelty is highlighted when in one town he treats her to a nice supper, but then picks up a voluptuous girl right in front of her and rides off leaving Gelsomina behind. When the pair come upon a traveling circus, the trouble starts between Zampano and Richard Basehart as "The Fool". The fool taunts Zampano into a flying rage that... This is movie-making at it's best. Do not miss this masterpiece.
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Summary: If Only "The Fool" Could Have Heard Me
Review: I first saw LA STRADA within a few years of its original release. I still remember how I felt when I saw Gelsomina's face and heard her play her few melancholy notes on the violin. Almost fifty years later I can still see that face and hear those notes. I have to admit that I'd never heard of Federico Felini or his wife, Giulietta Masina. I didn't know that, in time, LA STRADA would be labeled a work of genius. I did know, by the way that it affected me, that I had been exposed to something exceptional. I pictured myself as a pretty macho guy back then, and I wasn't supposed to walk out of a movie theater with tears in my eyes. Luckily, no one saw me when I did.For most of the movie, I wanted to take Gelsomina in my arms and protect her. I wanted to wrap a piece of Zampano's chain around his neck and strangle him with it. I wanted to grab "The Fool" by the shoulders and shake him and tell him, "If you keep taunting that bully he's going to make you pay for it." Poor Gelsomina, I couldn't do a thing for her. "The Fool" was really a fool for not heeding my silent warnings and it cost him his life. As for Zampano, he would have been better off if I could have strangled him. His pain, a result of the pain he had caused, was worse than any punishment I could have dealt out. My criteria as to what makes a movie great is a very personal one. It's also a very simple one. I don't look for multiple layers of symbolism or any other intellectual gobbledygook. It's how I react emotionally. On that score, LA STRADA is right up there at the top of my list.
Rating:
Summary: Fellinis best
Review: First of all I have to admit Fellini's one of my favorite directors. Not only his films, but his lifestyle is so sympathic. I love him. He was a genius. La Strada, is one of his earlier films but still the greatest. I'm not saying that other Fellini films are not great but I think this is his best. Giulietta Masina, Fellinis wife and Anthony Quinn are the greatest duo in film history. The atmosphaere of the film is wonderful and still depresing. That is Fellinis style. I think everyone should see this film. It's a great classic.
Rating:
Summary: Neo-realism at its best
Review: Giulietta Masina, Fellini's wife and acknowledged muse, plays a young innocent girl named Gelsomina. Anthony Quinn plays Zampano, a circus performer and brute. The story is about purity against brutality and the performances are unforgettable. The music, a few repeated notes by Nino Rota is achingly touching and ultimately bittersweet.
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Summary: Real Special Effects
Review: This movie has all the universal appeals, a beautiful musical score, great acting, and the carnival! The movie also has great directing, especially the transitions between the 'raw poverty' scenes (that can make one feel quite uncomfortable) and the acting. The director also adorns bleak landscapes with people and their interactions together. This art-film seems so modern when compared to the eight-year-later black and white classic "To Kill a Mockingbird" and etches a place in time like no other.
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