The biggest problem of movie(Feminism)

I have to point out that Fellini (a man) wrote and directed this, and that he probably had never even heard of feminism in 1957. So lets not blame your complaint on feminism, okay?

You don't have to take it so personally. For one thing, prostitutes have never been treated like princesses, so Cabiria had probably seen a lot of bad male behaviour. Yes, there can be two bad men in the world. There might even be three.

Besides, dramatically, the audience needs to see the first guy steal her purse and push her in the water to really feel the agony when it looks like it's going to happen again. It's a dramatic device.

There are countless movies where women are just after a man's wealth, and you are offended by one movie where the opposite is true?

It's an integral part of the story, and fictional stories shouldn't have to be 100% realistic. That would be very boring in most cases.

I see what you are saying, but perhaps you are taking the movie too literally.

This movie is about a prostitute who gets used by men. She's looking for love in all the wrong places, and the men around her take advantage. This must be something of what it's like to sell your body. On the surface, it appears to be an easy way to make money, but tolls on the body effect the soul: the two are inextricably intertwined: to sell your body is to sell your love.

No, men aren't usually looking for women's money. Men want women for their sex. Fellini couldn't show this on film. Money becomes a metaphor for sex. Cabiria gives these men her money(sex) because she believes she will receive love in return.

My rating: 10

That's quite a misreading. Fellini's storylines generally treat women rather cynically. They are often caricatures - airhead temptresses, vamps, prostitutes, frigid socialites, simpletons, harridans, unstable neurotics - I can barely think of a normal, 'admirable' woman in all his films.

The biggest problem with the film, to my mind, are the numerous raucous scenes with all the prostitutes, which are fairly migrainous with the over-dubbed soundtrack. Always a problem in Fellini films. He is at his best in the quiet scenes, such as in Lazzari's house. I wish someone had told him that, but Dino de Laurentiis, for sure, was incapable of such advice.