A while back my good friend Pablo Kjølseth—the master behind CU-Boulder’s International Film Series—asked me to guest write a post for TCM’s Movie Morlocks, now retitled Streamline in conjunction with FilmStruck. I chose to write about one of Federico Fellini’s best, La Strada.

An excerpt:

Fellini began his career as Roberto Rossellini’s assistant director and one-time actor (L’amore, 1948) while Rossellini was helping to develop Italian neorealism. But the kind of neorealism Fellini adopted was not the harshness of post-war existence — as depicted in Vittorio De Sica’s Bicycle Thieves and Umberto D. — but of a Franciscan variety. Fellini’s neorealism includes a deep and forgiving love for all of God’s creatures and that love is on display in La Strada’s final scene with Zampanò’s break down on the beach while the waves lap away at the shore. A motif runs through Fellini’s best works. Here, the dream runs out of steam, and the only thing left to confront are the Heavens. For La Strada, Fellini closes with Zampanò’s agony. Three years later, Fellini gave Masina her due and closed Nights of Cabiria with her beautiful, life-affirming smile.

Full article here: