The following information derives from La Strada by Federico Fellini, director, and edited by Peter Bondanella and Manuela Gieri:
[…]it is difficult to separate La Strada from the neo-realism movement of the 1950’s. Usually, movies are created based on plays. In this case the movie was created prior to the theatrical play. Created in post-war Europe, directors wanted to unveil what it meant to be in a war torn world.
Social realism appeared more interesting than fantasy or fiction. The artificiality of performance was abandoned to the point that non-actors were chosen over professionals. Fellini went as far as filming in real poverty stricken towns, using non-professional actors for minor roles. Fellini kept realism while still making La Strada poetic. This is evident in his choice of creating a script revolving around two street performers. (13)
Bondanella and Gieri also mention that,
Gelsomina is compared to the Madonna, while Matto to the Archangel Gabriel, and Zampano to Lucifer or an animal. (11)
Other examples:
[…] For others it is the visual and lyrical embodiment of a timeless fairy tale, Beauty and the Beast, wherein the Beast(Zampano’) is transformed by the suffering of Beauty(Gelsomina)[…] the love of a good woman changes a bad man[…] She is purchased on an ocean beach in Italy(15)
Gesomina[…] is described by her mother as, “a bit strange” and not like the other girls. A more uncharitable view of Gelsomina might even cal her retarded or dim-witted[…]She(Gelsomina) has a strange affinity with nature and seems most at home by a solitary tree and imitates with her arms the angle of its only branch. Geslomina thus possesses a Francisscan simplicity and purity of spirit which more than compensates for her diminished intellectual capacity, and this emotional potential makes her the perfect vehicle for Fellini’s poetic mythology. (10-11)
Additional thoughts:
Gelsomina is water, Matto is air, and Zampano’ is earth.
Gelsomina has the ability to communicate to inanimate objects, and even animals.
Words that come to mind when think of this play: Art, injustice, love, need, clown, fragile, and clay.
According to Gelsomina’s mother, the girl is “strange, and not like the other girls…” Some even think that she is a bit “retarded” or “dimwitted.”
Nonetheless, Bondanella describes her as a:
Sympathetic waif who know almost nothing about the real world possesses a special capacity for communicating with children, animals, or even inanimate objects. She knows for example, when it is going to rain. She has a strange affinity with nature and seems most at home by the seashore(11).
He further describes her as one with Franciscan simplicity and a purity of spirit which more than compensates for her diminished intellectual capacity, the emotional potential makes her the perfect vehicle for Fellini’s poetic mythology.
Bondanella also states that she is the companion who allows Zampano to feel, and to learn what it means to be human. Her vocation becomes clear when she is made aware of the parable of the pebble while talking to the Fool.
Gelsomina is portrayed with the innocence of the Madonna(evident by a snapshot of her in front of a poster reading, “Immacualte Madonna”) cture of while the Fool is portrayed as an angel(especially evident as he wears wings while walking on a tightrope).
One could then see the fool as the angel Gabriel, set to deliver special messages to the Madonna. However, the Fool also possesses a darker side as Lucifer. Although he states that humans need others and serve a positive function, he rejects this idea for himself, “I don’t need anybody!”
Zampano is often compared to animals. He relies on brute force and muscle. Zampano’s element is the solid earth.
Both Zampano and the Fool are described as selfish.
Fellini loved improvisation and would remain open to all potentially heuristic discoveries.
La Strada Hawaii 