"La Strada was bitterly attacked by left-wing critics in Italy as aperversion and betrayal of neorealism. (But) Fellini seems mostconcerned with an analysis of the feminine condition represented by the'woman as object,' as passive as a pebble, created for no other purposethan to make love and food. Gelsomina (Giulietta Masina)'s search forher own sense of identity is central to the film. Fellini told me heknew he had achieved his aim when he received a letter from a woman whosaid, in substance: 'My husband treats me like a Gelsomina. We wenttogether to see La Strada and he cried and asked my forgiveness.'Fellini's ending has been discussed at great length but this letterwould seem to prove that the important aspect of it is Zampano (AnthonyQuinn)'s tears....La Strada profoundly moved the majority of women andexasperated many men. Far from betraying neorealism, Fellini enriched itby guiding it along a new path."-Georges Sadoul, Dictionary ofFilms