Anita Ekberg: Beyond La Dolce Vita – A Journey Through Fame, Cinema, and Legacy
Anita Ekberg is remembered primarily for her iconic performance in Federico Fellini’s La Dolce Vita (1960), especially the unforgettable scene where her character Sylvia wades into Rome’s Trevi Fountain, a moment immortalized in cinematic history. This single scene, with its sultry blend of grace and sensuality, not only captured Marcello Mastroianni’s gaze but also cemented Ekberg’s status as a sex symbol of the silver screen. However, Ekberg’s life and career extend far beyond this brief moment in the spotlight. Her journey from a Swedish beauty queen to an international film star, as well as the ups and downs of her personal and professional life, paint a more intricate portrait of the woman behind the legend.
Early Life and Breakthrough
Kerstin Anita Marianne Ekberg was born on September 29, 1931, in Malmö, Sweden, the sixth of eight children in a conservative family. Her father was a harbor master, and she grew up in a strict Protestant household. Though her upbringing was far from glamorous, her beauty and striking presence set her on a unique path.
Ekberg entered the modeling and entertainment industries at the age of 20 after winning the title of Miss Sweden. This victory opened the door for her to compete in the 1951 Miss Universe pageant in the United States. Though she did not win the title, her beauty and charisma caught the attention of Hollywood executives, and she soon secured a contract with Universal Pictures. The studio trained her in acting, dancing, and horseback riding, but Ekberg was more interested in living her new glamorous life than in attending drama lessons.
Her early film career in Hollywood was marked by small roles that capitalized on her physical allure. She appeared in a series of films, including Abbott and Costello Go to Mars (1953) and the film adaptation of War and Peace (1956), where she played Henry Fonda’s unfaithful wife. Her performance in the latter earned her significant attention, and in 1956, she was awarded the Golden Globe for Most Promising Newcomer.
The Rise of a Sex Symbol: La Dolce Vita
Despite her early successes, it was her role in Fellini’s La Dolce Vita that transformed Ekberg from a Hollywood starlet into an international sensation. In the film, she portrayed Sylvia, a stunning actress whose beauty and magnetism make her an object of desire. The scene in which Sylvia beckons Mastroianni’s character to join her in the Trevi Fountain is iconic. Ekberg, draped in a black gown with a plunging neckline, embodied both fantasy and unattainable glamour, her figure becoming a symbol of cinematic seduction.
The success of La Dolce Vita marked a turning point in Ekberg’s career. She became a household name, but it also led to a degree of typecasting. Directors and producers began to see her as the sultry bombshell, a role she would struggle to break free from in subsequent years. Despite this, Ekberg embraced her newfound fame and enjoyed her life in Rome, where she would eventually settle.
Post-La Dolce Vita Career
After her breakthrough, Ekberg starred in a variety of films across genres, from westerns to comedies. She appeared in the anti-communist propaganda film The Dam on the Yellow River and the western 4 for Texas (1963) alongside Frank Sinatra and Dean Martin. In the comedy Call Me Bwana (1963), she acted opposite Bob Hope. Her collaborations with Fellini continued, most notably in Boccaccio ’70 (1962) and later in Intervista (1987), where she played herself.
Though her fame remained intact in Europe, Ekberg’s Hollywood career waned in the 1970s. She acknowledged that American directors often overlooked European actresses and lamented the increasing prevalence of sex and violence in cinema. “Where is the elegance? The mystery? The romance?” She once questioned, expressing her contempt for the way the business was going.
Life in the Spotlight and the Tabloids
As with many stars of her caliber, Ekberg’s personal life often became tabloid fodder. Her relationships with high-profile men, including Frank Sinatra and Errol Flynn, kept her in the public eye. In 1960, a particularly dramatic incident occurred when Ekberg, hounded by paparazzi outside her villa in Rome, brandished a bow and arrow to ward them off. This episode, while sensationalized by the media, also underscored the challenges Ekberg faced as a woman constantly under scrutiny.
Ekberg’s two marriages also attracted attention. In 1956, she married British actor Anthony Steel in a highly publicized wedding, but their union was short-lived, ending in divorce in 1959 due to Steel’s excessive drinking and jealousy. Her second marriage to actor Rik Van Nutter, best known for his role in Thunderball as CIA agent Felix Leiter, lasted from 1963 to 1975. Despite her tumultuous relationships, Ekberg never had children, a fact she occasionally expressed regret over, only to change her mind in later interviews.
Beauty as a Blessing and a Curse
Throughout her career, Ekberg was frequently described in terms of her physical appearance. LIFE magazine, in a 1962 profile, called her “magnificently ample,” while others focused on her voluptuous figure and striking blonde hair. While her beauty undoubtedly opened doors for her, it also became a hindrance. She once said, “Being born beautiful helps you start in the business, but it becomes a handicap.”
Ekberg’s frustration with being typecast as merely a “sex symbol” was evident throughout her life. Despite proving herself as a capable actress, her appearance overshadowed her talent. The very allure that propelled her to fame also confined her, and she struggled to break free from the image that La Dolce Vita had solidified.
Later Years and Final Days
As the roles dried up in the 1970s, Ekberg continued to live in Italy, where she found a level of peace and solace away from the Hollywood spotlight. She occasionally made appearances in European films and remained a beloved figure in the Italian film industry, largely due to her association with Fellini. In 2002, after nearly five decades in the film industry, she officially retired from acting.
Ekberg’s later years were marked by hardship. After a fall left her in a wheelchair, she struggled financially. Her villa was robbed, and she lost many of her possessions in a fire. Despite these challenges, she remained proud of her legacy and continued to make public appearances when she could. She lived in a care facility for a while and asked the Fellini Foundation for help in her last years.
At Rocca di Papa, Italy, on January 11, 2015, Ekberg, at eighty-three, passed suddenly from complications resulting from long-term diseases. Despite her death, her legacy endures through her film work, especially her role in La Dolce Vita, which remains a touchstone in cinema history.
A Legacy Beyond Beauty
Anita Ekberg’s life was a blend of triumph and tragedy, fame and obscurity. While she is often remembered for her beauty and her role in La Dolce Vita, her career spanned more than 50 years and included numerous performances that showcased her range as an actress. She navigated the complexities of being a sex symbol in an industry that often reduced women to their physical attributes, yet she left behind a legacy of elegance, charm, and indelible cinematic moments.
In the end, Anita Ekberg was far more than the woman in the fountain. She was a trailblazer who carved out a life for herself on her own terms, and her story continues to inspire generations of women navigating the demands of fame and personal fulfillment.
La Dolce Vita: A Cinematic Exploration of Modern Decadence
Marcello Mastroianni’s Role
In La Dolce Vita, Marcello Mastroianni portrays Marcello Rubini, a disillusioned journalist and gossip writer. Marcello is deeply ashamed of the superficiality of his profession, yet he remains too weak to distance himself from the nightly temptations of booze, women, and the exotic thrills his lifestyle provides. This internal conflict is at the heart of the film, which serves as a sharp critique of modern decadence, mass consumerism, and what is often mistaken for high culture.
A Bold Juxtaposition of the Sacred and the Shallow
The film’s opening scene—a helicopter carrying a statue of Christ flying over Rome, juxtaposed with a group of bikini-clad women on the ground—sets the tone for the movie’s surreal and ironic style. This blending of the sacred with the profane caused significant controversy upon the film’s release, even leading some countries and the Vatican to condemn or ban it outright. La Dolce Vita’s strange and elaborate sets, coupled with iconic scenes like Anita Ekberg’s frolic in the Trevi Fountain, are etched in cinematic history.
The Film’s Cultural Contributions
Beyond its cinematic value, La Dolce Vita introduced the word “paparazzi” into the English language, derived from the name of the photographer in the film, Paparazzo. The term “Felliniesque” also entered the movie critic’s lexicon, referring to director Federico Fellini’s embrace of the surreal.
Production Notes and Credits
Studio: Astor Pictures Corporation
Director: Federico Fellini
Federico Fellini, Ennio Flaiano, Tullio Pinelli, and Brunello Rondi are the authors.
Music: Nino Rota
Running Time: 174 minutes
Cast
Marcello Mastroianni: Marcello Rubini
Anita Ekberg: Sylvia
Anouk Aimée: Maddalena
Annibale Ninchi: Marcello’s father
Walter Santesso: Paparazzo
Academy Award Nominations (with * denoting wins)
Best Director
Writing
Costume Design (Black and White)*
Art Direction (Black and White)
The Unique Structure of the Film
La Dolce Vita is structured in a prologue, seven main episodes, an intermezzo, and an epilogue. This unique narrative style mirrors Marcello’s existential journey as he seeks love, happiness, and meaning.
The Prologue: A Statue of Christ and Bikini-Clad Women
The prologue begins with Marcello following a helicopter transporting a statue of Christ over a Roman aqueduct, symbolizing a spiritual journey. However, Marcello’s attention is quickly diverted by a group of women in bikinis on a beach, an early sign of his susceptibility to worldly temptations.
Episode 1: Nightlife, Maddalena, and Emma
On the first night, Marcello meets Maddalena, a beautiful woman with whom he has a brief fling. Following his return home, he discovers that Emma, his fiancée, has overdosed. This sets up a dramatic scenario in which Marcello declares his love for Emma while she is in the hospital and then calls Maddalena right away.
Episode 2: The Arrival of Sylvia
Marcello is tasked with covering Sylvia, a well-known actress, as she arrives at a Roman airport. After an initial press event, Marcello convinces Sylvia to explore Saint Peter’s Square with him. The two share a magical night, culminating in their iconic moment at the Trevi Fountain, only for Sylvia’s fiancée to bring their adventure to a jarring end with violence.
Episode 3: A Meeting with Steiner
On the third day, Marcello meets his intellectual friend, Steiner, in a church. They bond over a shared love of music, contrasting the decadence surrounding Marcello with Steiner’s intellectual pursuits.
Episode 4: The Madonna Sightings
Marcello, Emma, and a crowd investigate supposed sightings of the Madonna. The spectacle attracts attention, with Emma praying to keep Marcello’s love. Tragedy strikes as a pilgrim is trampled to death during the gathering.
The Intermezzo: A Seaside Encounter
In the intermezzo, Marcello works on his novel at a seaside restaurant and meets a young girl from Perugia. This brief, quiet moment contrasts with the chaos and disillusionment of his later experiences.
Episode 5: A Night with Marcello’s Father
The fifth night, Marcello takes his father out to a club where he meets a dancer. However, his father suffers a health scare, and despite Marcello’s attempts to keep him nearby, he returns home.
Episode 6: Love, Rejection, and Death
Marcello spends another night with Maddalena, who proposes marriage only to quickly lose interest. Later, Emma professes her love for Marcello, but their relationship deteriorates further. The next morning, Marcello learns that Steiner has committed suicide, along with his two children.
Episode 7: Chaos and Disillusionment
Years later, Marcello’s hair has grayed, but his spirit remains wild. His attempts to orchestrate an orgy at a party fall apart, and the night descends into chaos. The episode highlights the ultimate futility of his pursuit of pleasure.
The Epilogue: A Symbolic Encounter with a Leviathan
Marcello and his pals encounter a leviathan on the seashore in the last scene. Its lifeless eyes symbolize death, a chilling reminder of the emptiness that has consumed Marcello’s once-hopeful search for meaning.
This epilogue leaves viewers with an unforgettable image that captures the essence of La Dolce Vita: a haunting reflection on the price of living “the sweet life.”
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