La Strada - The Criterion Collection
Criterion (1954)
Drama
In Collection
#7411
0*
Seen ItYes
037429135426
IMDB   8.2
1 hr 48 mins Italy / Italian
DVD  Region 1   NR
Anthony Quinn Zampanò
Giulietta Masina Gelsomina
Richard Basehart Il 'Matto'-The 'Fool'
Aldo Silvani Il Signor Giraffa-Mr Giraffe
Marcella Rovere La Vedova-The Widow
Livia Venturini La Suorina-The Sister
Gustavo Giorgi (uncredited)
Kamadeva Yami (uncredited)
Mario Passante (uncredited)
Anna Primula (uncredited)
Giuletta Masina
Yami Kamadeva
Director
Federico Fellini
Producer Dino De Laurentiis
Carlo Ponti
Writer Federico Fellini
Ennio Flaiano
Tullio Pinelli
Musician Nino Rota


There has never been a face quite like that of Giulietta Masina. Her husband, the legendary Federico Fellini, directs her as Gelsomina in La Strada, the film that launched them both to international stardom. Gelsomina is sold by her mother into the employ of Zampano (Anthony Quinn), a brutal traveling strongman. They join up with a travelling circus where Zampano encounters his old rival, tightrope artist the Fool (Richard Basehart). With La Strada, Fellini left behind the familiar signposts if neorealism for a poetic fable of love and cruelty. The Criterion Collection is proud to present La Strada, winner of the Academy Award for Best Foreign Film in 1956.
Edition Details
Edition Special Edition
Distributor Criterion
Release Date 2002
Packaging Keep Case
Screen Ratio Standard 1.33:1 B&W
Subtitles English
Audio Tracks ENGLISH: Dolby Digital Mono
ITALIAN: Dolby Digital Mono
Layers Single Side, Dual Layer
No. of Disks/Tapes 2

Features
Disc 01 Video introduction by Martin Scorsese
Audio commentary by Peter Bondanella, author of Italian Cinema: From Neorealism to Present and The Cinema of Federico Fellini
Federico Fellini’s Autobiography, a documentary made for Italian television by Paquito del Bosco
Optional English-dubbed soundtrack featuring the voices of Anthony Quinn and Richard Basehart
New Essay by film scholar Peter Matthews
Theatrical trailer for the English version
New essay by film scholar Peter Matthews