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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
"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."
