Italian film Cabiria, while the character of Cabiria herself is taken from a brief scene in Fellini's earlier film, The White Sheik. It was Masina's performance in that earlier film that inspired Fellini to make Nights of Cabiria. However, no one in Italy was willing to finance a film which featured prostitutes as heroines. Finally, Dino de Laurentiis agreed to put up the money. Fellini based some of the characters on a real prostitute whom he had met while filming Il Bidone. For authenticity, he had Pier Paolo Pasolini, known for his familiarity with Rome's criminal underworld, help with the dialogue. Nights of Cabiria was filmed in many areas around Italy, including Acilia, Castel Gandolfo, Cinecittà, Santuario della Madonna del Divino Amore, Porta Maggiore, the Baths of Caracalla and the Tiber River. Reception At the time of the film's first American release, The New York Times critic Bosley Crowther gave the film a mixed review: "Like La Strada and several other of the post-war Italian neo-realistic films, this one is aimed more surely toward the development of a theme than a plot. Its interest is not so much the conflicts that occur in the life of the heroine as the deep, underlying implications of human pathos that the pattern of her life shows...But there are two weaknesses in Cabiria. It has a sordid atmosphere and there is something elusive and insufficient about the character of the heroine. Her get-up is weird and illogical for the milieu in which she lives and her farcical mannerisms clash with the ugly realism of the theme." Upon its original 1957 release, on the other hand, French director François Truffaut thought Cabiria was Fellini's best film to date. The film ranked third on Cahiers du Cinéma's "Top 10 Films of the Year List" in 1957. Forty years later, The New York Times carried a new review by Crowther's successor, Janet Maslin. She called the film "a cinematic masterpiece", and added that the final shot of Cabiria is worth more than "all the fire-breathing blockbusters Hollywood has to offer." This has stood by far as the most prevalent assessment of the artistic achievements of the film. Film critic Roger Ebert reviewed mainly the plot and Fellini's background: "Fellini's roots as a filmmaker are in the postwar Italian Neorealist movement (he worked for Rossellini on Rome, Open City in 1945), and his early films have a grittiness