La Dolce Vita critic and co-founder of "Cahiers du cinéma", felt that "The New York Times" film critic Bosley Crowther praised Fellini’s Roger Ebert considered "La Dolce Vita" as Fellini’s best film, as well as his favorite film of all time and listed it consistently in his top ten films for the "Sight & Sound" Greatest Films poll every ten years. Ebert's first review for the film, written on October 4, 1961, was the first film review he wrote, before he started his career as a film critic in 1967. The film was also a touchstone for Ebert, in how his perspective of
La Dolce Vita Maddalena asks him to marry her; Marcello professes his love for her, avoiding answering her proposal. Another man kisses and embraces Maddalena, who loses interest in Marcello. He rejoins the group, and eventually spends the night with Jane, an American artist and heiress. "5th Dawn Sequence": Burnt out and bleary-eyed, the group returns at dawn to the main section of the castle, to be met by the matriarch of the castle, who is on her way to mass, accompanied by priests in a procession. "7th Night Sequence": Marcello and Emma are alone in his sports car on an isolated road.