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Posted : 10 years, 10 months ago on 4 July 2013 02:42
Fresh off of the international success of La Dolce Vita, master director Federico Fellini moved into the realm of self-reflexive autobiography with what is widely believed to be his finest and most personal work. Marcello Mastroianni delivers a brilliant performance as Fellini's alter ego Guido Anselmi, a film director overwhelmed by the large-scale production he has undertaken. He finds himself harangued by producers, his wife, and his mistress while he struggles to find the inspiration to finish his film. The stress plunges Guido into an interior world where fantasy and memory impinge on reality. Fellini jumbles narrative logic by freely cutting from flashbacks to dream sequences to the present until it becomes impossible to pry them apart, creating both a psychological portrait of Guido's interior world and the surrealistic, circus-like exterior world that came to be known as "Felliniesque." 8 1/2 won an Academy Award for Best Foreign-Language Film, as well as the grand prize at the Moscow Film Festival, and was one of the most influential and commercially successful European art movies of the 1960s, inspiring such later films as Bob Fosse's All That Jazz (1979), Woody Allen's Stardust Memories (1980), and even Lucio Fulci's Italian splatter film Un Gatto nel Cervello (1990). ~ Jonathan Crow, Rovi
Unrated, 2 hr. 15 min.
Drama, Art House & International, Science Fiction & Fantasy, Comedy
Directed By: Federico Fellini
Written By: Federico Fellini, Ennio Flaiano, Tullio Pinelli, Brunello Rondi
In Theaters: Jun 25, 1963 Wide
On DVD: Dec 4, 2001
8½ Reviews
Fellini's Eight-and-a-half is worth Two Stars
Posted : 11 years, 4 months ago on 7 January 2013 09:12
This film is a bore.
Stylistically, eight-and-a-half could be seen as a companion piece to - or even the flipside of - La Dolce Vita (Federico Fellini, 1960). But it doesn't contain as much substance and nor does it have as much of a story to tell. It is rather an empty exercise, redeemed in part by the excellent opening dream sequence, the late conversation with (I think) Claudia Cardinale about the inability of a certain character to either love or be loved - "he has given up hope" - and by the insightful comments of the writer/critic about the duty of the artist not to add to the mountain of superfluous media with which the world is already afflicted. But none of this is enough to either justify the film's length or to give it the substance which, I think, it lacks.
As in La Dolce Vita, the central character has lost his faith in the possibility of redemption as represented by the innocence and purity of a girl. In terms of Fellini's oeuvre, therefore, eight-and-a-half has little new to say, and little or nothing in it that cannot be better had from La Dolce Vita.
At a purely superficial level, even the sunglasses, the suits, the sports cars and the scooters were better in La Dolce Vita.
Stylistically, eight-and-a-half could be seen as a companion piece to - or even the flipside of - La Dolce Vita (Federico Fellini, 1960). But it doesn't contain as much substance and nor does it have as much of a story to tell. It is rather an empty exercise, redeemed in part by the excellent opening dream sequence, the late conversation with (I think) Claudia Cardinale about the inability of a certain character to either love or be loved - "he has given up hope" - and by the insightful comments of the writer/critic about the duty of the artist not to add to the mountain of superfluous media with which the world is already afflicted. But none of this is enough to either justify the film's length or to give it the substance which, I think, it lacks.
As in La Dolce Vita, the central character has lost his faith in the possibility of redemption as represented by the innocence and purity of a girl. In terms of Fellini's oeuvre, therefore, eight-and-a-half has little new to say, and little or nothing in it that cannot be better had from La Dolce Vita.
At a purely superficial level, even the sunglasses, the suits, the sports cars and the scooters were better in La Dolce Vita.
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A classic
Posted : 12 years, 11 months ago on 16 May 2011 03:20
By now, I have seen about 5500 movies (a little bit more according to IMDb and a little bit less on Listal). It has been a great journey, to watch all these movies, and I hope to see many more in the future. Obviously, one of my goals was to watch the greatest movies ever made but, to be honest, watching a classic doesn’t mean necessarily that you will actually love it. Indeed, one of the biggest problems I had with watching classics is that I would hear about them for so many years and, at some point, I would finally have the opportunity to see them. But, in some cases, my expectations were just so high and after fantasizing about the damned thing for so long, the end result would sometimes turn out to be slightly underwhelming. Well, that's exactly what happened with this flick. I mean, obviously, I did like it but, at the end of the day, I can’t I was really blown away as I expected to be. Basically, I believe that Federico Fellini was and still is one of the great movie masters but his movies are sometimes rather difficult to digest and I really struggled to connect with this movie because I was trying all the time to understand what the guy was actually trying to do on the screen. To conclude, I should definitely re-watch it at some point and even though I didn’t really love it, it is still definitely worth a look, especially if you are die-hard movie fan like me.
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8½ review
Posted : 14 years ago on 18 April 2010 12:11
This movie tells a story about film director Guido Anselmi who is suffering from director's block. Main character who is played by Marcello Mastroianni doesn't get inspiration and because of that is anxious. He has no script for his movie. Actresses demand informations about their roles but there isn't any. The fuss keeps going on around the poor director who hasn't got a clue about the movie he is making.
The other theme of the movie is Guido's relationships. Wife Luisa (Anouk Aimèe) is descreet and classy. Lover Clara (Sandra Milo) is irresolute. Crush Claudia (Claudia Cardinale) is his salvation.
The third theme is Guido's inner world and childhood...or recollections about childhood. Guido feels that he has caused shame to his mother. He has distant relations to his mother and father. Recollections about childhood opens up Guidos personality and helps to understand the situation in which he is.
The movie has lots of dream like chapters. Guido tries to get the big picture of himself and his relationships through these memories. I found pairs from the dream like chapters: black-white, approval-abnegation.
Finally Guido finds his salvation by excepting himself as he is. This comes from giving up all the pressures.
Drama, craziness, glamour of black and white film..I like. The movie is brilliant visually.
The other theme of the movie is Guido's relationships. Wife Luisa (Anouk Aimèe) is descreet and classy. Lover Clara (Sandra Milo) is irresolute. Crush Claudia (Claudia Cardinale) is his salvation.
The third theme is Guido's inner world and childhood...or recollections about childhood. Guido feels that he has caused shame to his mother. He has distant relations to his mother and father. Recollections about childhood opens up Guidos personality and helps to understand the situation in which he is.
The movie has lots of dream like chapters. Guido tries to get the big picture of himself and his relationships through these memories. I found pairs from the dream like chapters: black-white, approval-abnegation.
Finally Guido finds his salvation by excepting himself as he is. This comes from giving up all the pressures.
Drama, craziness, glamour of black and white film..I like. The movie is brilliant visually.
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A film of fine art!
Posted : 14 years, 1 month ago on 10 March 2010 01:35
Wow!! This is an absolutely fantastic masterpiece from such a legendary director. 8 ½ is one of the weirdest films ever but I have seen weirder ones though. 8 ½ is a beautifully filmed story with very mixed feelings. It is a very dark story that is even psychological on occasions especially of what Guido goes into with the visions and fantasies he has. It is like a dark film-noir film but it isn't one though. I really enjoyed this film mostly because of its filming and the way it was written and produced. I got a bit confused at times but I did really enjoy it.
Marcello Mastrianni's performance as Guido was really good. Guido is suffering from "director's block". I thought to myself when I was watching it: "what the hell?" I read on another site that it is a phenomenon involving temporary loss of ability to begin or continue writing, usually due to lack of inspiration or creativity. Guido is a pretty psychological character who can be quite dangerous. The way Guido wants to make his films are like how Fellini directs this own.
I loved Fellini's approach to this film because it is a film that is inside his imagination. He uses a different director's name instead of his own name. Fellini's 8 ½ is Burton's Edward Scissorhands. Federico Fellini is a genius of creating films of art. I think this is the one Fellini film that shows this in the best way. The dialogue regarding filmmaking and the way Guido wants to make the films and also of the dark cinematography reminds me a lot of Tim Burton's Ed Wood.
This is the second Federico Fellini film that I have watched. It is an absolute masterpiece that I did underestimate at the start because of its complex dialogue. I will be watching more Fellini films in the future and it will be a tough challenge for any other to beat 8 ½. La Dolce Vita, Amarcord and Le Notti Di Cabiria are ones that could be. This is probably one of the best films that I've seen with the best art within. 8 ½ is one of the best films of the 1960s and is one of the finest cinematic achievements in the history of cinema.
Marcello Mastrianni's performance as Guido was really good. Guido is suffering from "director's block". I thought to myself when I was watching it: "what the hell?" I read on another site that it is a phenomenon involving temporary loss of ability to begin or continue writing, usually due to lack of inspiration or creativity. Guido is a pretty psychological character who can be quite dangerous. The way Guido wants to make his films are like how Fellini directs this own.
I loved Fellini's approach to this film because it is a film that is inside his imagination. He uses a different director's name instead of his own name. Fellini's 8 ½ is Burton's Edward Scissorhands. Federico Fellini is a genius of creating films of art. I think this is the one Fellini film that shows this in the best way. The dialogue regarding filmmaking and the way Guido wants to make the films and also of the dark cinematography reminds me a lot of Tim Burton's Ed Wood.
This is the second Federico Fellini film that I have watched. It is an absolute masterpiece that I did underestimate at the start because of its complex dialogue. I will be watching more Fellini films in the future and it will be a tough challenge for any other to beat 8 ½. La Dolce Vita, Amarcord and Le Notti Di Cabiria are ones that could be. This is probably one of the best films that I've seen with the best art within. 8 ½ is one of the best films of the 1960s and is one of the finest cinematic achievements in the history of cinema.
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8 ½
Posted : 14 years, 2 months ago on 23 February 2010 07:37
8 ½ is a joyous movie experience, a foreign language classic and a towering artistic achievement. Surrealistic cinema is as old as cinema itself, but rarely has it probed one character’s psychology so completely. There is a whimsy, a sense that anything can and will take flight at any point in time. Many movies have been described as charming and here is one that actually lives up to that description.
8 ½ tells the story of Guido (Marcello Mastroianni), an Italian director during the height of Neo-Realist cinema. He feels creatively blocked, and continuously escapes into his memories and boundless imagination. Cracking under the pressures of being the most well-known Neo-Realist director, he escapes to a spa and brings with him his longtime mistress. It’s a pity that he won’t be able to actually escape, since the studio, producers, designers, etc. have followed him there.
Federico Fellini was obviously working out his own issues on the screen. And if any of this sounds relatively familiar, the musical Nine was based off of this. But it was tremendously inferior to this film. This is yet another case of the original being superior to the remake, no matter if the remake was gussied up as a lavish musical.
Marcello Mastroianni, with his aged good looks and charmingly roguish air, is as perfect as always. I wonder how much of his performance was based upon Fellini and how much was his own creation. He worked with Fellini enough times to gain a good enough grasp to do an imitation, and repeating leading actors are often considered to be attractive variations of their directors. For instance, what are Johnny Depp’s lovable odd-balls creations if not variations on Tim Burton’s own psyche and quirky personality? Regardless, it is a wonderful performance that anchors the film in some semblance of reality, but has just enough hints and giggles bubbling underneath to work with the whimsy.
And let us discuss the whimsy! I love the incredibly fine, infinitely porous line between reality, fantasy and memory. I found no trouble in deciphering which was which, and I don’t believe that I would have minded getting lost amongst them, anyway. The imagined scene where his mistress and his wife meet-up and greet each other with open arms, kisses and anecdotes slowly turns into a scene where he lives in a house filled with women he has loved, wanted to love and have loved him. This is not a man who is fulfilled and caressed by these memories and imaginings, he seems more possessed. Like these feverish daydreams are slowly driving him closer to a nervous breakdown, weighing upon his soul and emotionally constipating them. It’s all in how Marcello furrows around the eyes and mouth.
I can understand that 8 ½ will not be to everyone’s liking, it requires a strict attention span, a tolerance for whimsy, an urge not for a narrative but for an experience. I do love a good narrative, but I also love a good experience. A great piece of art works on many levels, and so this does. There is a narrative, however thin but solidly told, but there is also a great and joyous experience to be had. What can I say? I was charmed by this man filled with lust and Catholic guilt.
8 ½ tells the story of Guido (Marcello Mastroianni), an Italian director during the height of Neo-Realist cinema. He feels creatively blocked, and continuously escapes into his memories and boundless imagination. Cracking under the pressures of being the most well-known Neo-Realist director, he escapes to a spa and brings with him his longtime mistress. It’s a pity that he won’t be able to actually escape, since the studio, producers, designers, etc. have followed him there.
Federico Fellini was obviously working out his own issues on the screen. And if any of this sounds relatively familiar, the musical Nine was based off of this. But it was tremendously inferior to this film. This is yet another case of the original being superior to the remake, no matter if the remake was gussied up as a lavish musical.
Marcello Mastroianni, with his aged good looks and charmingly roguish air, is as perfect as always. I wonder how much of his performance was based upon Fellini and how much was his own creation. He worked with Fellini enough times to gain a good enough grasp to do an imitation, and repeating leading actors are often considered to be attractive variations of their directors. For instance, what are Johnny Depp’s lovable odd-balls creations if not variations on Tim Burton’s own psyche and quirky personality? Regardless, it is a wonderful performance that anchors the film in some semblance of reality, but has just enough hints and giggles bubbling underneath to work with the whimsy.
And let us discuss the whimsy! I love the incredibly fine, infinitely porous line between reality, fantasy and memory. I found no trouble in deciphering which was which, and I don’t believe that I would have minded getting lost amongst them, anyway. The imagined scene where his mistress and his wife meet-up and greet each other with open arms, kisses and anecdotes slowly turns into a scene where he lives in a house filled with women he has loved, wanted to love and have loved him. This is not a man who is fulfilled and caressed by these memories and imaginings, he seems more possessed. Like these feverish daydreams are slowly driving him closer to a nervous breakdown, weighing upon his soul and emotionally constipating them. It’s all in how Marcello furrows around the eyes and mouth.
I can understand that 8 ½ will not be to everyone’s liking, it requires a strict attention span, a tolerance for whimsy, an urge not for a narrative but for an experience. I do love a good narrative, but I also love a good experience. A great piece of art works on many levels, and so this does. There is a narrative, however thin but solidly told, but there is also a great and joyous experience to be had. What can I say? I was charmed by this man filled with lust and Catholic guilt.
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Beautiful surrealistic art film...
Posted : 15 years, 8 months ago on 8 September 2008 06:42
"I thought my ideas were so clear. I wanted to make an honest film. No lies whatsoever. I thought I had something so simple to say. Something useful to everybody. A film that could help bury forever all those dead things we carry within ourselves. Instead, I'm the one without the courage to bury anything at all. When did I go wrong? I really have nothing to say, but I want to say it all the same."
Out of all the films from the imaginative mind of legendary director Federico Fellini, 8½ is possibly his most celebrated masterpiece. When it comes to entrancing and mesmerising surrealism, Fellini's talents remain unparalleled. 8½ is strictly an art film that certainly is not for all tastes. It conveys a fascinating autobiographical narrative through thoroughly artistic visuals and intricately written dialogue. Fellini's film also embodies everything a wannabe filmmaker aspires to achieve. While some regard the film as self-indulgent and ultimately without meaning, the fact remains that this is a seminal slice of world cinema.
On top of this, Fellini spawned several contemporaries who were downright inspired by his cinematic creations. Terry Gilliam is a prime example whose attempts at surrealism are evident in such films as Brazil. David Lynch and Woody Allen are other obvious students. Naturally, though, the artistic qualities will not be happily devoured by all. 8½ is undeniably an enigmatic creation bursting with bizarre metaphors and overt allegory. To genuinely appreciate the film it's essential for it to be viewed on its own terms - the outrageous product of an immortal director trialling the medium, taking advantage of everyone surrounding him, and satirising his very profession.
Federico Fellini's 8½ is highly autobiographical. The bafflingly cryptic title in fact refers to the fact that this is his 8½th film. Prior to taking the reigns for the film, he'd directed six feature films. In addition he'd also co-directed one and directed episodes of two others, making the extra 1½. The story had been languishing with Fellini for years. It's a priceless tale that has been widely copied ever since its release.
A film director named Guido Anselmi (Mastroianni) recently completed a film that developed into an incredible success. Following this hit, he's struggling to conceive a movie to further establish his desired reputation. His latest project promises to be a science fiction film featuring a spaceship. Aside from that aspect, no other features of the plot are revealed. This is probably because Guido has no clue regarding the story either. Guido is never given a moment of peace. He's endlessly hassled by colleagues and friends eager for more work and anticipating the commencement of production. Slowly but surely, Guido begins to lose his inspiration for ideas. Not only is he having trouble getting the script written and a story worked out, but those surrounding him are constantly pressuring him about different things. As a last resort, Guido retreats into his surreal fantasies and childhood memories.
There is much irony surrounding the naivety of Guido. Throughout the course of production for 8½, the script was incomplete. The actors were given their lines for the day each morning before the cameras rolled...often verbally as well.
8½ is an unmistakably unique slice of foreign cinema. The subject matter of a filmmaker reflecting in a fictional way on his own creative process was unfamiliar to the world of cinema, and especially so with the story being derived from the material of the director's own life. The film was also greatly influential for its fantasy elements. The opening sequence is a peculiar dream, with Guido being drawn up into the sky after being hopelessly trapped in a smoking car in the middle of heavy traffic. Throughout the course of the film, Fellini moves seamlessly between reality, dream sequences and memories. The film also benefits greatly from the superbly stylish and extravagant cinematography, as well as the stunning score by Nino Rota.
However, the film's length is excessive. It's a painfully long film, clocking at about 140 minutes. It's long and difficult to get through. Despite the marvellous technical wizardly on display, I also felt constantly sleepy and irretrievably lost. One probably needs to watch the film constantly in order to properly follow the events.
Mastroianni presents an absolutely wonderful performance as the troubled director. As 8½ is more or less a portrait of director Fellini, Mastroianni dresses and acts like the man he's representing.
As we're looking in-depth at the film industry, the supporting cast is of course filled with attractive performers. There are several ladies that play a role in Guido's life throughout the film. His marriage is in trouble, he obviously enjoys the company of numerous beautiful girls, etc. All in all, the film is very well acted. Everyone looks the part as respective producers, designers, mistresses, and so on.
Overall, 8½ is an above-average art film that has been endlessly analysed and critiqued. It's impossible to absorb everything during a single screening due to the cryptic and bizarre nature of the proceedings. Director Fellini conveys a very fascinating narrative underneath a coat of fantasy elements and entrancing dream sequences. Not quite the masterpiece that it was made out to be...but then again, only rarely do films live up to their accolades. For example there are some who abhor Citizen Kane while conventional critics still hail it as the greatest film of all time. In the end, it's a matter of what you expect. In my opinion it needed a stronger story instead of the overabundance of dream sequences.
7.6/10
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