Anthony Lane, The New Yorker, Jan 17 2020:
"...Fellini is also the great divider. “La Dolce Vita” was the film most loved by Roger Ebert, for whom it was transformed with every viewing, whereas Pauline Kael likened Fellini’s efforts to “poking your head into a sack of fertilizer and then becoming indignant because you’re covered with excrement.” The director, she said, was “shocked and horrified” by the antics of the idle rich that he surveyed. If so, the shock has not survived; what lingers, after sixty years, is a lazy amusement at mortal foibles, which are scarcely confined to the wealthy. It is the poor who flock to a strip of wasteland where a couple of kids, for a giggle, claim to have beheld the Virgin Mary. Any hint of holiness is wrecked by a rainstorm, and by the glare of the arc lights under which TV cameras hope to catch the miracle, yet Fellini does not rage at our credulity. He smiles...."
'Shallow people demand variety -- but I have been writing the same story throughout my life, every time trying to cut nearer the aching nerve."
(quoted by Marathi writer G. A. Kulkarni as epigraph to his book 'Pinglavel', first published in 1977)
जी. ए. कुलकर्णी ज्यावेळी हे उद्धृत करतात , त्यावेळी असे वाटते की हे (एकच गोष्ट पुन्हा पुन्हा सांगणे) त्यांना मान्य आहे. त्यांच्या मते कलावंताच्या दुखऱ्या नसे पर्यंत जायचा तो एक राजमार्ग आहे.
पण सत्यजीत रेंना ते मान्य नाही. फेल्लिनी तोच सिनेमा कायम काढत आले असे त्यांना वाटते. त्यांची ह्याला नापसंती दिसती आहे.
Shawn Levy, 'Dolce Vita Confidential: Fellini, Loren, Pucci, Paparazzi, and the Swinging High Life of 1950s Rome', 2016 :
एकबर्ग यांचे स्फोटक, उन्मादक सौन्दर्य 'ल डोलचे व्हीटा' साठी किती महत्वाचे आहे हे वरती आलेच: “The idea for the film is inseparable from the idea of Anita Ekberg.”... big-bosomed, blonde, glamorous, unattainable... “her splendor was incredible, her outsized, totally exaggerated beauty!”