Plot: What’s it about?
Ivan (Leopoldo Trieste) has just been married, so he brings his virginal bride to Wanda (Brunella Bovo) to Rome. This is to be their honeymoon adventure and of course, Ivan has a lot planned. In addition to the usual newlywed hijinks, Ivan intends to present his new bride to his uncle and even gain an audience with the pope. So in other words, he is as proud of his wife as a man could be and by turn, plans to show her off. When they arrive, he is tired from the trip and decides to take a nap, but she has other ideas. In the same area as they are staying, the offices of a famous romance magazine are also located. And of course, it happens to be one she reads with a passion, so she decides to sneak off and find the offices. Her plan is to meet The White Sheik (Alberto Sordi), the star of her favorite soap opera column. Even though she has just gotten married, she cannot deny herself the chance to meet the true man of her dreams. But when she actually meets him, she winds up alone with the man on a boat, half an hour away from Rome. Not the kind of things a new wife should do, but she has found herself in such a situation. At the same time, Ivan is depressed and distraught, but he claims she is ill whenever people ask. With their papal meeting in the morning, what will become of this newlywed couple?
This might not be the typical Fellini picture, but The White Sheik is fun and a great addition to The Criterion Collection. The movie speeds at a brisk pace and a slapstick sense of humor, which means tons of laughs to be had. As I watched this movie again, I was reminded of Charlie Chaplin’s brand of screen humor, as there is a lot of similar material here. Now don’t think Fellini is lifting from Chaplin here, but its hard to ignore the slapstick stylistic connections. And if you’re going to be inspired, few make better candidates than Chaplin, that’s a lock. But Fellini doesn’t just serve up this comic treat as is, instead he infuses it with his usual touches. So expect a darker tone at times, even walking the line with tragic content in some instances, though again, Chaplin was known to work within the dark structure himself. But Chaplin’s classic Tramp character was never this offbeat, as Fellini brings in a kind of atmosphere that drifts toward the odd. The characters, the settings, the storyline, and the various situations, all of it seems just a little out of balance, which is good, since it keeps things fresh, to say the least. The film has some rough spots and Fellini’s direction is still evolving here, but The White Sheik is still a worthwhile picture. As such, I am giving this release a solid recommendation, especially to Fellini devotees.
The films of Federico Fellini contain a lot of comic moments, but perhaps none are as loaded as The White Sheik. This was also his first solo directorial effort, as Variety Lights was a joint effort with Alberto Lattuada. Of course, Fellini’s style resonates throughout Variety Lights, but in The White Sheik, he was able to be the sole man in the director’s chair. The slapstick comedy might not be one of Fellini’s trademarks, but his usual themes and visual style are on full showcase, even at this early juncture in his career. Over time he would refine and enhance these techniques of course, but it is fun to watch the genesis of his evolution as a filmmaker. This movie has a lot of odd situations and offbeat characters, the kind that Fellini loved to populate his films with. You can tell his style was just starting to come together, with small touches and such, though as expected, he also makes some mistakes. I don’t think this is near the top of Fellini’s resume, but it is a fun movie and one fans of his work should be satisfied with. Other films directed by Fellini include Amarcord, Juliet of the Spirits, 8 1/2, La Dolce Vita, Nights of Cabiria, City of Women, Roma, and Intervista. The cast includes Alberto Sordi (The Witches, Sex Quartet), Brunella Bovo (Miracle in Milan, Streets of Sorrow), and Leopoldo Trieste (Cinema Paradiso, Caligula).
Video: How does it look?
The White Sheik is presented in full frame, as intended. This presentation looks good, given that the movie is over half a century old. Then again, we can thank Criterion for that, as some restoration work was done to enhance the visuals. So the print is cleaner than ever before, but some flaws remain left behind. The main issue is grain, which becomes quite thick in some scenes, while debris is so minimal, I see no reason to complain. Even with some grain however, this is a much improved visual treatment over previous editions, so fans should be pleased with the enhanced experience. I found contrast to be smooth and solid, which is good news, since this is a black & white film, of course. All in all, this is a great looking version of a movie that’s over fifty years old, so Criterion deserves some praise.
Audio: How does it sound?
As was the case with the visuals, some restoration work was done on the audio materials, but the result isn’t as impressive. The audio is passable, but time has done some damage to the materials, to be sure. I am glad Criterion spent some time on this soundtrack, as I can only imagine the original condition of the elements. Although some restoration work was done, the audio still has clicks, pops, and some hiss, though nothing too serious. So if these flaws remain intact even after the digital restoration, you have to assume the materials were in poor condition. Even so, the elements are in sold form here and that’s a reasonable presentation. The original Italian language track is preserved, in which dialogue is a tad thin at times, but still comes across well. This disc also includes optional English subtitles.
Supplements: What are the extras?
This disc includes just over half an hour of interviews with stars Brunella Bovo and Leopoldo Trieste, as well as Fellini biographer Moraldo Rossi.
