The bitter sweet life  They were the glory days of Italian
cinema, immortalised by a man with a camera who roamed the sets,
gaining unrivalled access to the stars. John Hooper pays tribute
to Pierluigi Praturlon Anita Ekberg on the set of 1960's La
Dolce Vita, photographed by Pierluigi Praturlon Anita Ekberg on
the set of 1960's La Dolce Vita, photographed by Pierluigi
Praturlon. Photograph: © Photology, Milan  It was a moment that
marked a turning point in postwar Europe: Anita Ekberg wading
through the Fontana di Trevi in Federico Fellini's film La Dolce
Vita, as improbably voluptuous as the fountain itself. La Dolce
Vita was shot in 1960, and while Ekberg's low-cut, dark evening
dress may look back to the formal 50s, her insouciant
transgression points unmistakably ahead, into the subversive
60s.  What few cinema-goers realised was that the scene in the
film was a reconstruction of a real event. Two years earlier,
Ekberg had spent the evening with a set photographer, Pierluigi
Praturlon, at the Rancho Gran