[FilmReview]TheWhiteSheik(1952)7.5/10

Fellini’sofficialfirstfeaturefilmaccordedwithasolocreditasthedirector,THEWHITESHEIKhasasimplepremise,anewly-wedcouplefromasmalltownarriveinRomefortheirhoneymoon,thestarchyhusbandIvanCavalli(Trieste)arrangesafull-day’ssight-seeingactivitiesincludinganaudienceinfrontoftheHolyFatherinVatican(thankstotheconnectionsofhisuncle,whoworksthere),buttheyoungbrideWanda(Bovo)hasherownplan,visitingRomefortheveryfirsttime,sheistemptedtoseekout“theWhiteSheik”,theprotagonistofapopularphotostrip(“fumetto”)playedbytheactorFernandoRivoli(Sordi,whomakesagoodfistwithafaux-matineeidolimpressionfromwhichsincerityisthelastthingonecanexpect),andaftersneakingoutoftheirhotel,Wandaembarksonaone-dayfieldtripwiththefumetto’sproductionteamnearRome,whereasawrong-footedandcluelessIvanhastofieldhisuncle’sfamily,fromwhomhemusthideWanda’sdisappearance.Thefilmrobustlyfreewheelsbetweenagirlx27;sswooningabandoninanalmostsurrealsurrounding(roisteringtroupersincostumesincluded)andaman’spiteousbefuddlementandpredicament,andFelliniclearlyindulgesintherevelryandhubbub.ButWanda’suntowardjollificationwilleventuallyshadeintoaletdownofrealitycheck,whenherjolly,affectionateidol’scharmingfacadestartstounravel,asaplayactingactor,Fernandoisreducedtoahenpeckedbuffoonassoonashischat-upwithWandaonasailingboatfinishesandhisthicksetwifeappears,thusWanda’sfollybecomesaparableofafangirl’scaprice,whosecastle-in-the-airfinalityisextraordinarilyforeshadowedbytheWhiteSheik’smagic“swingingaloft”entrance.“Don’tmeetyouridol”isafairwarningtoheedandastarstruckBovomakesamealofhertransitionfromdoe-eyeddemurenesstoremorse-drivenpietàintheaftermathofadasheddream(eventheTiberriverpullsherleginthenadir).AsIvan,Triesteoftenreliesongaucherieandawide-eyedcatatoniatosoupuphismountinganguishandcomedyoferrors(andhisparochialpenchantandfamilyhonorfirstpreoccupation),andhisstoryismoreofaprosaicrompcomparedwithWanda’smorequixotic,implausibleandrowdyescapade,notuntilacameobyGiuliettaMasinaasthenaiveprostituteCabiria(acharacterwillleaveaninarticulatepathosinNIGHTOFCABIRIA,5yearslater),wheresheisdistractedbyafirebreatherintheweehours,doesFellinifinallyembellishatouchofsurrealismtohismisery.Thenextmorning,WandaisgrantedasecondchancetoconsecratehernewmatrimonybythePope,beforebeingvouchsafedasecondchancefromherhusband,towhomsheadmitsthatnowheisher“whitesheik”,butthroughoutFellini’sarchmanipulation(andthefactthatWandaretainsherinnocencewhereasIvanisactuallynot),itishardtotellheispokingfunatthemoralfableorbeingseriousaboutit,anyhow,theinfluenceofneorealismandearthycomedystillloomlarge,butFellinix27;sbaroquetrademarkhasalreadyemergedtoajubilanteffectinconjunctionwithNinoRota’smajesticallyspellboundscore.referentialentries:Fellini’sNIGHTOFCABIRIA(1957,8.7/10);IVITELLONI(1953,8.2/10).本文版权归作者他他所有，任何形式转载请联系作者。