The use of monochrome in the film is conspicuous because it helps differentiate the rural routine and the new modernizing Italian lifestyle. La Dolce Vita was shot in black and white, despite the availability of color in that period. Marcello, a society gossip columnist, is a journalist and man-about-town in search of an identity in the world, hobnobbing with the elite, while dealing with the stifling home life of his girlfriend. Most of the scenes in the story depict his quests where he seeks short-lived joy in wild parties and sexual interactions. Marcello meets Sylvia, a famous movie star, who is new in town and he switches into his charm mode. He flirts with the movie star, without much consideration of his girlfriend at home. Theme development is advanced in the film in the way Marcello cuts himself from the real world and dwells in a setting of self-pity and self-disgust, coupled by confusion on the best way to tackle life.
The director uses erotic, strange, and surreal imagery in the creation of cinematic appeal for the film. Marcello’s environment has a fairytale setting full of fallacy and falsehood. The film is full of symbolism, and is a cinematic version of the end of the world or revelation in the book of Daniel. His close friend’s life descends into despair, after which he commits suicide. Marcello considered him as a successful writer, and his suicide baffles him. In terms of symbolism, it may represent the judgment of the wicked. In addition, his girlfriend is a pure soul who craves for his attention, but Marcello is so absorbed in his “whorish” life that he does not notice her troubles. Eventually, she commits suicide because of his actions, which are largely disheartening. It is ironical how Marcello is both displeased and excited about his life as a journalist.
The screenplay encompasses the Italian pop and celebrity society, and the negativities associated with the