Federico Fellini was arguably the most popular and critically acclaimed Italian director, ever. For many cinephiles, he single-handedly represents Italian film as a whole, and in a way that’s a shame. As a result the works of other talented Italian directors such as Luchino Visconti, Roberto Rossellini, Francesco Rosi, and Michelangelo Antonioni have been neglected or underestimated.

But it’s undeniable that Fellini is a major talent, and he made some of the most memorable and creative films of the 1950s and 1960s. "I Vitelloni" is not one of his very best films, but it is a key film in his early development. It was a major influence on many films about youths with arrested development such as Martin Scorsese’s "Mean Streets."

"I Vitelloni" is a coming of age film that was influenced by neo-realism. It’s about a group of developmentally stunted young men who put off the responsibilities of adulthood. The word "vitelloni" means young calves and it refers to the sometimes-oafish animalistic behavior of the boys.

The youths in the film were based on some of the men Federico knew when he was growing up in the Italian seaside resort town, Rimini. For Fellini, Rimini served a similar function as Dublin did in James Joyces’s writings especially "Dubliners." Both men felt they had to escape their dead end hometowns, but they kept coming back to them in their artistic creations.

Fausto is considered the spiritual guide of the group but he’s actually a selfish cad. He has an affair with the lovely but immature Sandra, the sister of his friend, Moraldo. He gets her pregnant, and tries to run out on his responsibilities. The only reason he stays is because his dad threatens him. But he womanizes even after his wedding and he even tries to pick up a flirtatious married woman in a movie theater while he is on a date with his wife.

The other young men are not much more ambitious or sympathetic. Alberto (played by Alberto Sordi) basically gives up his life to stay with his mom after his sister disappoints the family with her choice in men. The only one with a chance of a real future is Moraldo (Franco Interlenghi) who takes the train to a job in another town. He is the only one with a conscience and the nerve to leave town.

"I Vitelloni" is not quite as groundbreaking as some of Fellini’s later films such as "La Strada," 8 1/2" and "La Dolce Vita." But it’s still a major achievement and it’s worth seeking out.