If required, adjust the background transparency by choosing the “User-defined” option, use the “color picker” to choose the background color and adjust the slider. Place the inserted logo in any desired location on the sheet:Ħ. Locate the logo file (jpg, png, bmp, etc.) and click on “Open”.ĥ. From the main menu click “Insert” and then choose “Picture”:Ĥ. Right-click on an empty area on the sheet and select “Edit Sheet Format”, this will edit your drawing template:ģ. the Madonna sighting.Do you want to add a watermark of your company logo to your drawings’ background? I bet you do, ? then all you need do is follow the steps below.Ģ. Or see it for no other reason than these two scenes: 1.
The movie is well worth seeing as it is an absolute classic of Italian cinema and one of Fellini’s best. Well, that’s my way of dealing with the underlying pathos of La Dolce Vita. He could even have that perfect little life that he admired if he could learn to take himself and others a little less seriously. I’d like to think that in time he gets it together, finds a muse, writes his novel (or not) and comes to accept himself and his life. He has many acquaintances and opportunities. Mastroianni’s character is a very likable person. Is there any hope in the movie’s ending? I’d like to think there is.
With those two different smiles, it’s evident that she has her whole life ahead of her and he’s a lost soul about to be lured back into his vapid life. He doesn’t appear to remember who she is. She smiles brightly and he smiles sheepishly. He can’t hear her for the sound of the waves. She beckons to him from across a small body of water. They had talked about her desire to return to her home town and his attempts at writing. In the final scene of the movie he happens upon a teenage girl with whom he had spoken in an earlier scene. It’s a movie of near misses, of could-have-beens, of might-have-beens. When tragedy strikes (mentioned above) his life continues as before, but without any pretense of pursuing happiness or fulfillment. La Dolce Vita is a cynical movie, an unflinching look into a man’s middle age in which there is no resolution. But then a third party enters the scene and this seemingly significant moment is supplanted by other moments and thereby forced into the dim past. During the course of their confessions, they declare their love and desire to marry and you believe that they are sincere. They speak to one another through a wall. They have a very romantic confessional scene one night when they get separated from the group in a large house. He has a near connection with a French dancer from the Cha-Cha club. We watch as he eagerly reads a letter from his mother but learn that he hasn’t written or visited her in years. His lack of meaningful contact/connection with women is a pervasive theme. There are other smaller but no less significant tragedies: Mastroianni’s lack of meaningful contact/connection with his father, the codependent nature of his relationship with his fiance, his inability to write his novel. But this seemingly perfect life is blown up by self inflicted tragedy. At one point we think he’s found “it,” through the example of a friend who has the seemingly perfect life: loving wife, beautiful healthy children, an enviable collection of books, art and music, eclectic parties, a reader, a thinker, a philosopher. There are plenty of classic Fellini-esque elements: kooky music and dialogue, exotic parties, a parade of interesting faces in interesting costumes, unusual locations and scenes, crisp black and white cinematography and spectacular lighting.īut La Dolce Vita is essentially about the pathos of a middle aged man who lives a bright and shinny life surrounded by good looking people and fine things but isn’t happy or satisfied. We are all familiar with the iconic scenes: the movie’s opening with a statue of Jesus – arms out stretched – being transported by helicopter over the city, Marcello Mastroianni and Anita Ekberg in the Trevi fountain, Mastroianni riding on the back of a crawling woman at a drunken party, Mastroianni driving around Rome in his convertible sports car looking fabulous, and the ever-present paparazzi acting like the Keystone Cops. Re-watching La Dolce Vita after many years I had forgotten what a very serious movie it is.