But more than any of his previous work, La Strada (1954) established Fellini as one of the great cinematic minds of the postwar years. With I Vitelloni (1953) Fellini's social microcosm expanded to include the frustrated, maladjusted lives of the provincial middle class, in a penetrating analysis of youthful malaise. He then examined the tawdry, shallow world of movie stardom in a pathetic comedy, The White Sheik. Two years later, under the technical supervision of Alberto Lattuada, Fellini made his directorial debut with Variety Lights, an intensely personal study of theatrical life, strikingly anticipatory in its images of the desolation and ennui of the bleak emotional landscapes of his later masterpieces. Although The Miracle was in style and execution essentially a Rosselini production, its thematic ambiguity and elusive poetry distinguished it from the director's more literal neorealist efforts. The pair continued their collaboration on the successful wartime drama Paisan (1946), and the controversial religious parable The Miracle (1948), the story of an innocent peasant woman who mistakes a crude tramp for St. In 1945 Fabrizi introduced Fellini to the celebrated cinema director Roberto Rosselini, who offered him the opportunity to work on the script and serve as assistant director of Open City, a powerfully realistic work which depicted the Italian underground resistance to Nazi occupation. Later Fellini was asked by the noted actor and director Aldo Fabrizi to collaborate with him on several motion picture scenarios.
Through the many contacts that he made, Fellini found work writing comedy for films as well as radio sketches. He worked there from 1939 to 1942, which gave him the opportunity to meet a number of writers and humorists, which would eventually open the door for his career in cinema.
He was given a full time position on the editorial board for Marc’Aurelio, a popular humor magazine, after submitting an article four months prior.
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