The White Sheik Screen 2 articles

The White Sheik


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  • I would argue that Welles’ privileging of The White Sheik is entirely defensible, for a number of reasons — not least of which is the provinciality that forms its central subject, which Fellini identifies with as well as satirizes. Indeed, the film might even be seen as a distillation of Fellini’s vision of innocence and corruption that preceded the more stylistically elaborated versions of it.

  • Through the course of her devastating awakening, it’s easy to feel bad for Wanda. “Life is a dream,” she dejectedly concedes, summarizing the core of Fellini’s fancy, “but sometimes a dream is a bottomless pit.” On the other hand, as enacted by high-tension Trieste, who had little prior acting experience, as opposed to Bovo, who had the year prior appeared in Vittorio De Sica’s thematically comparable Miracle in Milan, Ivan’s plight is equally tragic, albeit less heartbreaking.