l_rawjalaurence THE WHITE SHEIK is a low-budget film set in early 1950s Rome. It concerns a newly-wed couple Ivan (Leopoldo Trieste) and Wanda (Brunella Bovo) who arrive in the city for their honeymoon. Ivan has the arrangements all planned - they will meet his uncle and aunt, see the Pope, visit the sights and enjoy a quiet evening in. However things start to go off the rails when Wanda decides to look for her hero the White Sheik (Alberto Sordi), star of a series of comic-books and films. Her enthusiasm leads her astray from the hotel and into a series of adventures involving her being transported to the film-set, being taken on a boat with the Sheik, lost in the wilderness and taken back to Rome in a strongman's automobile. Ivan tries to look for her, but ends up in a series of adventures of his own as he desperately tries to convince his relatives that everything is perfectly serene in his marital life. Fellini's film rebounds from misadventure to misadventure; it is in fact extremely funny, with wonderful performances from the three leading actors, all of whom understand the importance of gesture and facial expression. Fellini spent his early years working with clowns; it's clear that this experience informs the film. THE WHITE SHEIK has a relatively short running-time - just over 80 minutes - but it is well worth watching.

bobsgrock The name Fellini brings to mind some of the great films of the 20th century; La Dolce Vita, La Strada, and 8 1/2 come to mind. However, every legend has a beginning, and Fellini's was here. Here, we see the neo-realist influence that affected most of his early work, and it works perfectly to capture the hustle and bustle of the city of Rome as well as tell the story of a newlywed couple on a perfect honeymoon with a not-so perfect relationship.Fellini does remarkable work in cutting back and forth between the travels of the bride as she seeks out her favorite soap opera star, The White Sheik, and that of the groom desperately trying to impress his family. It gives a sense that even if dreams seem more fun and desirable than the real world we live in, it is not always perhaps the most beneficial path. This is a theory that seemed to change with time as Fellini's films became more dream-like, but here it is apparent that realism reigns, at least for this awe-struck couple.

Marcin Kukuczka Having seen most of Federico Fellini's movies, any viewer who not only watches the films but experiences the cinema may draw the conclusion that the director changed his style over the years. In other words, he turned to be more "skeptical" more "knowledgeable" and more "dreamlike." To realize that, we have to consider his earliest films - his honeymoon period - for clearer understanding of the change. The movie that resembles Fellini's freshness most is LO SCEICCO BIANCO. Here, it is hardly the Fellini we know from JULIET OF THE SPIRITS or CITY OF WOMEN. It is a fresh, genuine, young Fellini where some viewers even fail to recognize the director. Nevertheless, if one watches the film more deeply, it is possible to notice something characteristic of Fellini. To make it more clear, let me briefly look at the content first.A young couple from the provincial part of Italy, Ivan Cavalli (Leopoldo Trieste) and Wanda Giardino Cavalli (Brunella Bovo), come to Rome for their honeymoon. Here, mind you that honeymoon symbolizes not only the mutual freshness, appreciation but also the lack of boredom resulting from routine of life. The honeymoon also appears to be the sort of "illusive prelude" to the everyday. Ivan is very strict, honorable and plans the visit exactly to the very letter with the schedule list which contains introducing of his wife to his noble family, sightseeing of Rome and the climax of the stay: the audience at the pope's. Wanda, however, is more "light hearted", enthusiastically absorbed in arts of 24th May Street and aims rather at adventure than at the formal side of the visit. When they enter the Tre Fiori Hotel, she soon disappears fleeing into the world of her dreams, illusions and fantasies. Will she find the stay at her illusive world of a white sheik (Lo Sceicco Bianco) more comfortable and convincing? While analyzing the content (not revealing more of it), I think that this is one of the movies where Fellini is mostly HIMSELF. He touches similar themes like in his later movies, including social criticism, formality in relations, dominance, destructive illusions, social discrepancies, and disillusion. Yet, he remains absolutely clear. Criticizing social conventions, he aims at addressing the problem: what should the marital status be like? While discussing dominance, he seems to draw our attention to the different personalities of the couple. Most importantly, however, Fellini develops the destructive effect of illusions, which he would do in many of his later films, paying attention to Wanda's fanatic idolatry and fantasies: "real life is a dream." When she enters the 24th May Street and, more strictly, when she meets the white sheik, isn't that Cabiria entering the house of Alberto Lazzari in Fellini 1957 movie? Is the world of art separated from the ordinary world? Had Wanda better just get the autograph and a cigarette as a souvenir and leave in order not to be led into unpleasant disillusion? But, according to my deeper analysis of the themes, you may falsely conclude that the movie is pretty psychological. In no way! It is a humorous story, witty adventure with moments at which you will rather split your side than reflect. The atmosphere is perfect for ordinary viewers as well as Fellini buffs. It is not a Felliniesque movie but reveals more the characteristics of I VITELLONI, LA STRADA and NIGHTS OF CABIRIA. Moreover, LO SCEICCO BIANCO can boast wonderful cinematography with really well managed images. Concerning wit, the most memorable moments for me were two, in fact. One being Ivan who gets informed where Wanda is and, consequently, his sentence: "Dear uncle, the name of Cavalli..." ends with "we will meet in the Vatican at 11 o'clock..." The other being the final moment when the noble family at last gets to know Wanda, the uncle says "Wanda Carissima!" (dearest Wanda) and their memorable walk towards St Peter's Basilica. Except for the two, there are many other witty moments that I won't reveal now. You must see the film. As far as camera is concerned, the absolute visual masterwork for me was the first view of the white sheik. We see him illusively, like Wanda regards him... And another strong point to be mentioned here: the wonderful music by Nino Rota, a mainstay in Fellini's films. UNFORGETTABLE!The performances of the movie constitute the different aspect I'd like to discuss in the separate paragraph. There are many non professionals but it does not reduce the value of the movie. The cast do extraordinary jobs, including the leading couple: Leopoldo Trieste and Brunella Bovo as well as Alberto Sordi in the role of the white sheik and many of the supporting cast. Here, it is important to mention that Fellini had that very significant flair for casting people. But, the most important fact is that we can see Giulietta Masina in LO SCEICCO BIANCO. She plays...Cabiria, different one than a few years later. She appears in one scene but what a terrific performance it is! For me, it was the best scene of the movie. Masina is given very little time on screen in an undeveloped role, yet we all get the clear point of her portrayal and once you see her, you never forget her.Very good film that I highly recommend anyone to see! To me, it appeared as if a "cinematic honeymoon" period of Fellini, of his skillful direction, of his themes' development and the particular charm that he skipped later. LO SCEICCO BIANCO is what movies have best: entertainment and education. Who was Wanda's white sheik in the end? Don't we also have "white sheiks" in our lives that lead us more often into illusions and, unfortunately, more rarely into disillusions? 9/10

dbracher One of the earlier Fellini´s films, Lo Sceicco bianco show some of Fellini´s style: weird characters, bizzare and oniric situations, and abouve all a lot of lirism, showing how beatiful life can be.The film is an acid comedy about fans and showbiz. A pure fan of printed soap operas met her beloved hero, a kind of Rodolfo Valentim. But the meeting will show her some of the truth about showbiz. Fellini transforms what could be an tragedy in a nice story of redemption.A great surprise is the participation of Giulietta Massina as Cabíria. Cabíria appears as a common person, not yet as a prostitute, but adds a lot of lirism to film. In my opinion Nights of Cabiria and La Nave Va are the two best of Fellini.Worth seeing