"...(Anita) Ekberg was the very type of woman that Fellini was always drawn toward with an almost infantile eroticism: big-bosomed, blonde, glamorous, unattainable. She was, as he said, a creature from his imagination or from a movie screen, descended to Rome in mortal form: “healthy as a shark,” Fellini said of her, “emanating the heat of a summer day.” “Oh my God,” concurred Tullio Kezich, Fellini’s friend and biographer, who had permission to witness firsthand the gestation of the new movie, from the script stage through production and editing to the release, “her splendor was incredible, her outsized, totally exaggerated beauty!” To marshal a bona fide sex goddess into the film—with all the personal trappings and implications she bore—was, in many ways, the very point, as Kezich would later say, of what Fellini was doing: “The idea for the film is inseparable from the idea of Anita Ekberg.”..."
Anita Ekberg in the Trevi Fountain scene of La Dolce Vita
Photo courtesy: ALAMY