Protraph Lack of good storyline.

AutCuddly Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

Ariella Broughton It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Phillida Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Cristi_Ciopron E LA NAVE … certainly deserves a place of honor is the master's creation—as the most eerie, genuinely Goyesque and intriguing rune, a surrealist and twisted vision using profuse intuitions and ambiguous understatements. That's why few movies can match this one. It does not require maybe that much expertise to acknowledge what a thoughtful movie this is, and, beyond being thoughtful, from what depths of genuine intuition it does proceed.E LA NAVE … is one of the buff's exams—the master has long ago already passed his exams, and now the buff faces this one—what will he/ or she, fair reader, make of this bizarre, strikingly funny, surrealist _capriccio ,once its very visionary nature is acknowledged and brought to full admission? Me, I'm a man aged in such Fellinianisms. I recognize quickly the artifacts of the surrealism contrived and forced; I can testify for the authenticity of the Fellinian creative intuition in E LA NAVE …;it's a fever of the Fellini—beyond—Fellini, at a stage without sentimental-isms and heartache; a coherent world-view, a satire and a bitter comedy. Maybe, just maybe, a surrealist cosmogony as well.Already in Fellini's time, cinema was long ago validated as art. There was no word of acknowledging or validating it as art; Fellini already comes after some giants. Nowadays as in Fellini's own time, some people, less discerning, seem eager to recognize DAUGHTER OF HORROR (which I comment on this site) as genuine surrealism—but to a lesser degree E LA NAVE …; now that's awkward. Because here Fellini the wizard went beyond ambitions and achieved this part—Goyesque part satirical take on a world long ago abolished and drowned; and some of those who know at least some of the important Italian cinema of the '70s and '80s (things like the Ottaviani brothers, the Avatti, and the master Fellini himself) will not fail to recognize rather promptly this blend and also this special flavor of temerity and decadence.Now of course most do not even need this; yet I would insist of taking by the hand the unconvinced few and dip them a little in this—what shall we call it—in this primordial soup, in this _cosmographic sketch. I bet you do not know many other musical sequences in the cinema as good as the glasses session in the ship's kitchen. They are good, are they not? You had some fun. Or the countless jokes issued by the master's inventiveness—beginning of course with the silent scene right at the beginning, before the color shift.The final Fellini was somehow the mellower; understandable. Do not be fooled by the down-talkers. They ignore the trade. Maybe those used with the first Fellini—or with the first Fellinis, should one say—failed to adapt and change. But for me, after the '60s Fellini only got better—if such a thing were possible. In E LA NAVE … there's nothing phony or fake; on the contrary, it's creepily genuine.Enjoy the style, the movement, the atmosphere, the approach! I have mentioned the scene of the glass concerto; there, the cinematographic phrase itself dances. What Fellini delivers here are not a few gimmicks and tricks but an original take. Here at least some schmucks who pretend to direct movies could learn at least some of the externals.

Rolf Lima There is a roll of directors of whom one must claim to be an encomiast, if one wants to be held as an intelligent, sensitive person. Regardless of one's inner and uncontrollable reactions to their work, the mandatory comments as the credits go by are "what a masterpiece!", "best Italian director ever!", "delightful and subtle!" and the like -- well, unless there is no one around. Thus, let us leave the unqualified praise to the wannabe intellectuals and talk sincerely about this one."And the ship sails'" famous opening sequence may look interesting when you hear of it, with its silence and sepia colors ushering you into 1914, but watching its lousy sketches amid Italian proverbial disorder is not exactly thrilling. After the first metalinguistic appearance of the journalist Orlando and a short singing by the passengers, they go aboard, the ships leaves port, and the movie actually begins.The music is splendid, and the scenery and the costumes do not fall short of it. A scent of affection and artificiality pervades the whole movie, but that is quite inevitable with all that opera singing. To my surprise, the meta-linguistics represented in the journalist's character does not hamper the natural flow of the sequences. On the contrary, his peaceful nature sets a welcome contrast with the austerity around him.A real contrast, though, only takes place as the Serbians refugees are sheltered on the ship. Not that it is thoroughly explored by Fellini. Truth is, surprisingly as it may seem, he never abandons a rather superficial display of the relations that develop above the sea, both of the passengers between one another and between them and the Serbians. Sociology is not to be found here; beauty and pureness is what this movie is about.

Giulietta_degli_spiriti That's totally true, Adam. Fellini says in few minutes what directors and writers wanted (do they really want?...) to say in many ignorant movies, like Spielberg's or Cameron's movies. Pay attention that "ignorant" is not an injury, it's simply an adjective for those kind of movies that just don't promote the intellect. But, hey, we are talking about show business, not "art business" or "show art", but "show" and "business". But I really think it's a waste of time to do a movie just for people laugh or cry and do it mentally ill. So then it's not correct to call people like Spielberg and CIA. as "artists", because they have the same job as the magicians in children parties. Fellini is an artist, he makes real art, not just for making businesses or a great stupid show to people be delighted with the illusion of the happy endings.

vdg Music and color, passion and lucidity, tragedy and comedy. Yes, all of them and some more are contained in this masterpiece! From the one of the most originals beginnings in the film history to some pure perfection moments, this movie does not disappoint. Bare in mind this is a FELINNI movie, so your `normal' perception of a movie should be altered to a more `felinnian' way… I have to say that this movie would stay in my memory long before those `Hollywood blockbuster' movies would be forgotten! There is one complain I have to make: the dubbing of some of the characters! I really don't know what Felinni had in mind, but sometimes is really annoying their pronunciation!! I give this movie 9 out 10!!! If you want food for your soul watch this one PLUS `Juliet of the spirits'!!!