Öffnungszeiten. Mo - Uhr; Di - Uhr; Mi - Uhr; Do - Uhr; Fr - Uhr; Sa - Uhr; So + Ftg. Den stolzen Namen des Autoclubs Topolino trägt die Eisdiele am Ristorante La dolce vita. Hier treffen sich auch Mitglieder des Topolino-Clubs Deutschland. Unsere Küche zeichnet sich durch die Kur und den Respekt der Qualität der hiesigen Gerichte aus, nationale und internationale. Das Restaurant ist jeden Tag. Echte Bewertungen von echten Gästen. Heute findet das Nachtleben in anderen Stadtteilen Roms copa america live ticker. Sie machen einen nächtlichen Streifzug rezultati fudbal Rom mit dem Cadillac und lassen eine ärmere Prostituierte in ihr Auto einsteigen. An einer Strandbar unternimmt Marcello preise Versuche. Möglicherweise unterliegen die Inhalte jeweils wolf 2 Bedingungen. Alle von der Schule organisierten Aktivitäten sind für diesen Teilnehmer kostenlos. Übernachtet am Juni
i vita la dolce -Sie sind jetzt angemeldet. Diese Webseite verwendet Cookies. Paare schätzen die Lage besonders — sie haben diese mit 9,0 für einen Aufenthalt zu zweit bewertet. Immer umringt von einem Schwarm Fotografen, die seiner Fährte in der Hoffnung auf eine gute Geschichte beziehungsweise einen guten Schuss folgen, bewegt sich Marcello durch das sommerliche Rom. Soziale Netzwerke Folge uns auf facebook, twitter und anderen sozialen Netzwerken: Leider ist es nicht möglich, Buchungen für einen längeren Zeitraum als 30 Nächte durchzuführen. Marcello Rubini Anita Ekberg:
Robert slaps Sylvia, orders her to go to bed, and then assaults Marcello who takes it in stride. Marcello meets Steiner, his distinguished intellectual friend, inside a church playing Bach on the organ.
Steiner shows off his book of Sanskrit grammar. Late afternoon, Marcello, his photographer friend Paparazzo, and Emma drive to the outskirts of Rome to cover the story of the purported sighting of the Madonna by two children.
Although the Catholic Church is officially skeptical, a huge crowd of devotees and reporters gathers at the site. That night, the event is broadcast over Italian radio and television.
Blindly following the two children from corner to corner in a downpour, the crowd tears a small tree apart for its branches and leaves said to have sheltered the Madonna.
Meanwhile, Emma prays to the Virgin Mary to be given sole possession of Marcello's heart. The gathering ends at dawn with the crowd mourning a sick child, a pilgrim brought by his mother to be healed, but trampled to death in the melee.
An American woman, whose poetry Marcello has read and admired, recommends that Marcello avoid the "prisons" of commitment: Even in love, it's better to be chosen.
Outside on the terrace, Marcello confesses to Steiner his admiration for all he stands for, but Steiner admits he is torn between the security that a materialistic life affords and his longing for a more spiritual albeit insecure way of life.
Steiner philosophizes about the need for love in the world and fears what his children may grow up to face one day. Marcello spends the afternoon working on his novel at a seaside restaurant where he meets Paola, a young waitress from Perugia playing Perez Prado 's cha-cha Patricia on the jukebox and then humming its tune.
He asks her if she has a boyfriend, then describes her as an angel in Umbrian paintings. With Paparazzo, they go to the Cha-Cha-Cha Club where Marcello introduces his father to Fanny, a beautiful dancer and one of his past girlfriends he had promised to get her picture in the paper, but failed to do it.
Fanny takes a liking to his father. Marcello tells Paparazzo that as a child he had never seen much of his father, who would spend weeks away from home.
Marcello leaves the others when they get to the dancers' neighborhood. Fanny comes out of her house, upset that Marcello's father has become ill.
Marcello's father has suffered what seems to be a mild heart attack. Marcello wants him to stay with him in Rome so they can get to know each other, but his father, weakened, wants to go home and gets in a taxi to catch the first train home.
He leaves Marcello forlorn, on the street, watching the taxi leave. Marcello, Nico , and other friends met on the Via Veneto are driven to a castle owned by aristocrats at Bassano di Sutri outside Rome.
There is already a party long in progress, and the party-goers are bleary-eyed and intoxicated. By chance, Marcello meets Maddalena again.
The two of them explore a suite of ruins annexed to the castle. Maddalena seats Marcello in a vast room and then closets herself in another room connected by an echo chamber.
As a disembodied voice, Maddalena asks him to marry her; Marcello professes his love for her, avoiding answering her proposal.
Another man kisses and embraces Maddalena, who loses interest in Marcello. He rejoins the group, and eventually spends the night with Jane, an American artist and heiress.
Burnt out and bleary-eyed, the group returns at dawn to the main section of the castle, to be met by the matriarch of the castle, who is on her way to mass, accompanied by priests in a procession.
Marcello and Emma are alone in his sports car on an isolated road. Emma starts an argument by professing her love, and tries to get out of the car; Marcello pleads with her not to get out.
Emma says that Marcello will never find another woman who loves him the way she does. Marcello becomes enraged, telling her that he cannot live with her smothering, maternal love.
He now wants her to get out of the car, but she refuses. With some violence a bite from her and a slap from him , he throws her out of the car and drives off, leaving her alone on a deserted road at night.
Hours later, Emma hears his car approaching as she picks flowers by the roadside. She gets into the car with neither of them saying a word.
Marcello and Emma are asleep in bed, tenderly intertwined; Marcello receives a phone call. He rushes to the Steiners' apartment and learns that Steiner has killed his two children and himself.
An unspecified amount of time later, an older Marcello—now with gray in his hair—and a group of partygoers break into a Fregene beach house owned by Riccardo, a friend of Marcello's.
Many of the men are homosexual. To celebrate her recent divorce from Riccardo, Nadia performs a striptease to Perez Prado 's cha-cha Patricia. The drunken Marcello attempts to provoke the other partygoers into an orgy.
Due to their inebriated states, however, the party descends into mayhem with Marcello throwing pillow feathers around the room as he rides a young woman crawling on her hands and knees.
Riccardo shows up at the house and angrily tells the partiers to leave. The party proceeds to the beach at dawn where they find a modern-day leviathan , a bloated, stingray-like creature, caught in the fishermen's nets.
Paola, the adolescent waitress from the seaside restaurant in Fregene, calls to Marcello from across an estuary but the words they exchange are lost on the wind, drowned out by the crash of the waves.
He signals his inability to understand what she is saying or interpret her gestures. He shrugs and returns to the partygoers; one of the women joins him and they hold hands as they walk away from the beach.
In a long final close-up, Paola waves to Marcello then stands watching him with an enigmatic smile. In various interviews, Fellini claimed that the film's initial inspiration was the fashionable ladies' sack dress because of what the dress could hide beneath it.
Credit for the creation of Steiner, the intellectual who commits suicide after shooting his two children, goes to co-screenwriter Tullio Pinelli.
Having gone to school with Italian novelist Cesare Pavese , Pinelli had closely followed the writer's career and felt that his over-intellectualism had become emotionally sterile, leading to his suicide in a Turin hotel in Set designer Piero Gherardi created over eighty locations, including the Via Veneto , the dome of Saint Peter's with the staircase leading up to it, and various nightclubs.
Some of the servants, waiters, and guests were played by real aristocrats. Fellini combined constructed sets with location shots, depending on script requirements—a real location often "gave birth to the modified scene and, consequently, the newly constructed set.
Fellini scrapped a major sequence that would have involved the relationship of Marcello with Dolores, an older writer living in a tower, to be played by s Academy Award -winning actress Luise Rainer.
The scene in the Trevi Fountain was shot over a week in winter: It was only after the actor "polished off a bottle of vodka" and "was completely pissed" that Fellini could shoot the scene.
The character of Paparazzo, the news photographer Walter Santesso , was inspired by photojournalist Tazio Secchiaroli  and is the origin of the word paparazzi used in many languages to describe intrusive photographers.
Ennio Flaiano , the film's co-screenwriter and creator of Paparazzo, reports that he took the name from a character in a novel by George Gissing.
Marcello is a journalist in Rome during the late s who covers tabloid news of movie stars, religious visions and the self-indulgent aristocracy while searching for a more meaningful way of life.
Marcello faces the existential struggle of having to choose between two lives, depicted by journalism and literature. Marcello leads a lifestyle of excess, fame and pleasure amongst Rome's thriving popular culture, depicting the confusion and frequency with which Marcello gets distracted by women and power.
A more sensitive Marcello aspires to become a writer, of leading an intellectual life amongst the elites, the poets, writers and philosophers of the time.
Marcello eventually chooses neither journalism, nor literature. Thematically he opted for the life of excess and popularity by officially becoming a publicity agent.
Journalist Marcello and a photographer named Paparazzo follow in a second helicopter. The symbolism of Jesus, arms outstretched as if blessing all of Rome as it flies overhead, is soon replaced by the profane life and neo-modern architecture of the "new" Rome, founded on the economic miracle of the late s.
The delivery of the statue is the first of many scenes placing religious icons in the midst of characters demonstrating their "modern" morality, influenced by the booming economy and the emerging mass-consumer life.
The most common interpretation of the film is a mosaic, its parts linked by the protagonist, Marcello Rubini, a journalist.
Interrupting the seven episodes is the restaurant sequence with the angelic Paola; they are framed by a prologue Jesus over Rome and epilogue the monster fish giving the film its innovative and symmetrically symbolic structure.
Other critics disagree, Peter Bondanella argues that "any critic of La Dolce Vita not mesmerized by the magic number seven will find it almost impossible to organize the numerous sequences on a strictly numerological basis".
The critic Robert Richardson suggests that the originality of La Dolce Vita lies in a new form of film narrative that mines "an aesthetic of disparity".
The encounters build up a cumulative impression on the viewer that finds resolution in an "overpowering sense of the disparity between what life has been or could be, and what it actually is".
In a device used earlier in his films, Fellini orders the disparate succession of sequences as movements from evening to dawn.
Also employed as an ordering device is the image of a downward spiral that Marcello sets in motion when descending the first of several staircases including ladders that open and close episodes.
The upshot is that the film's aesthetic form, rather than its content, embodies the theme of Rome as a moral wasteland. Writing for L'Espresso , the Italian novelist Alberto Moravia highlighted the film's variations in tone,.
Highly expressive throughout, Fellini seems to change the tone according to the subject matter of each episode, ranging from expressionist caricature to pure neo-realism.
In general, the tendency to caricature is greater the more severe the film's moral judgement although this is never totally contemptuous, there being always a touch of complacence and participation, as in the final orgy scene or the episode at the aristocrats' castle outside Rome, the latter being particularly effective for its descriptive acuteness and narrative rhythm.
Though not as great as Chaplin , Eisenstein or Mizoguchi , Fellini is unquestionably an author rather than a director. The film is therefore his and his alone And so, the film conveys a sense of pessimism and cynicism.
The film thus has deep thematic value. It caused a scandal when it was released, and was banned by the Catholic Church, apparently for appearing to be anti-religious.
Yet for all its deep meaning, "La dolce vita" can be a trial to sit through. Somewhere in the second half I began to lose interest.
I don't have a problem with Fellini's deviation from standard plot structure. I do have a problem with a director who doesn't know when to quit.
This film goes on for almost three hours. A good edit, to delete all the fat, would have tightened up the story and rendered it more potent.
As is, it's too strung out, too stretched, too meandering. If the viewer can persevere, there's enormous cinematic art in this film.
And helped along by Nino Rota's music, the film is wonderfully evocative, at times stylishly melancholy.
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Keep track of everything you watch; tell your friends. Full Cast and Crew. A series of stories following a week in the life of a philandering paparazzo journalist living in Rome.
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Edit Cast Cast overview, first billed only: Marcello Rubini Anita Ekberg Maddalena as Anouk Aimee Yvonne Furneaux Fanny as Magali Noel Alain Cuny Il padre di Marcello Walter Santesso Frankie Stout Mino Doro Edit Storyline Journalist and man-about-town Marcello struggles to find his place in the world, torn between the allure of Rome's elite social scene and the stifling domesticity offered by his girlfriend, all the while searching for a way to become a serious writer.
The film that shocked the critics Edit Details Official Sites: Italian English French German. Edit Did You Know? Goofs At the top of St. Peter's dome the wind blows Sylvia's hat off.Frühstück war frisch und lecker. Fellini hatte das Buch während der Vorbereitung zu dem Film gelesen und war von dem Namen fasziniert. In dieser Unterkunft werden folgende Karten akzeptiert Bankkarte La Dolce Vita akzeptiert diese Karten und behält sich das Recht vor, einen bestimmten Betrag vor Ihrer Ankunft vorübergehend zu blockieren. Wählen Sie Ihre bevorzugte Sprache. Am nächsten Morgen kehrt Marcello in seine Wohnung zurück und muss feststellen, dass seine Verlobte Emma während seiner Abwesenheit einen Suizidversuch unternommen hat. Die Stornierungs- und Vorauszahlungsbedingungen ändern sich je nach Zimmerkategorie. Robert, Sylvias Verlobter Valeria Ciangottini: Geben Sie Ihr Feedback ein. Der Monarch hatte aus Wut über aufdringliche Fotografen einen Tisch umgeworfen. Für Ihre letzte Buchung. Alle Fotoreporter, selbst die von der Paese Sera , stehen an der Bushaltestelle, um die noch ahnungslose Witwe abzufangen und abzulichten.