The world's impression of "Sweet Life" is too much occupied by the huge-breasted woman under this fountain. This is of course one of the iconic erotic images of that era, and the movie goes to great lengths to present the allure of women of all kinds, but "Sweet Life" is of course not just about sex and eroticism. Nor is the film more than Fellini's autobiography and personal experience, or even the so-called revelation of the emptiness and corruption of the bourgeoisie and high society.
The film has a critique of reality (such as the intellectual circle's pursuit of oriental culture), but more importantly, the many metaphors that Fellini buried in the film make the film's theme have a deeper reference. For example, the statue of Christ hanging in the air at the beginning symbolizes the emptiness and fragility of the religious spirit in modern society (its foundation has been disintegrated, as if it is above the air and may collapse at any time); the strange fish at the end symbolizes the unknowability of modern society (“Modern "The abrupt "insertion" of "tradition" is like an inexplicable monster on the beach); of course, the fisher girl symbolizes innocence and uncaptured romance, and the male protagonist is unable to grasp this innocence, symbolizing that modern life may seem sweet Rich, but forever lost that innocence, The Death of Innocence is the essence of The Sweet Life.
Without the garb of gorgeous images and skilled techniques, the greatness of "Sweet Life" is that it keenly captures the delusional nature of modern society amid the prosperity of post-war revival. Fellini was born out of neorealism, but in this film, he has become a pioneering spokesperson for postmodernism.
View more about The Sweet Life reviews
