"Nights of Cabiria was the last film in which Fellini tried to make sense of an increasingly fragmented, chaotic Italian society. In (Giulietta) Masina's brilliant incarnation of the simple-minded, doomed prostitute — a character the director called the "fallen sister" of La Strada's celebrated Gelsomina — he found an ideal vehicle for attacking the Church, the class system, movie star culture, and all the other forces destroying the lives of ordinary people. With his next film, La Dolce Vita, his neorealist voice would become quieter; in a few years, it would vanish entirely as Fellini drifted deeper into a private fantasy world."
(Gary Morris Bright Lights Film Journal)
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