The Fellini exhibition at the Jeu de Paume in Paris gave me a glimpse into the sexy film sirens who ignited the Italian director’s alleged womanizing personality. But in reality Fellini remained devoted to his wife, distinguishing him from many of the wankers I encounter in everyday life. Fellini even considered his classic “Casanova” character to be incapable of truly loving women, since Casanova was obsessed by a fantasy idea of the female sex. Fellini was a bit of a “men expert,” obsessed by the pretty things in the world: the circus, breasts, asses, movie stars, parties, Dionysian Ecstasy, excessively large hats, etc.

In Fellini’s 1965 film, Juliet of the Spirits, the pimp of cinema puts his feminist ways to the test by illustrating the complicated dreams and psychic energy surrounding a frustrated Italian housewife, Juliet. She lives a terribly traditional New England existence devoted to her philandering husband, and enters into the surreal world of her hypersexual champagne-drinking prostitute neighbor. Juliet finds herself climbing into orgy-laced tree houses and being propositioned by a young Adonis. She struggles through a chaotic game of understanding dreams and being haunted by emotionally unavailable men.

But once her husband elopes with a perky young model, Juliet realizes that her life will be better off without him and that she is finally liberated. Juliet of the Spirits is like a revolutionary lush decadent surreal version of Under the Tuscan Sun.

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