8½ (1963)

User Rating:

8.2/10   

Director:

Federico Fellini

Writers:

Federico Fellini (story) &
Ennio Flaiano (story) ...

Release Date:

25 June 1963 (USA)

Genre:

Drama | Fantasy

Plot:

A harried movie director retreats into his memories and fantasies.

Plot Keywords:

Director | Film Director | Producer | Film Making | Crown

Awards:

Won 2 Oscars. Another 13 wins & 5 nominations

Cast

Marcello Mastroianni	...	Guido Anselmi
Claudia Cardinale	...	Claudia
Anouk Aimée	...	Luisa Anselmi (as Anouk Aimee)
Sandra Milo	...	Carla
Rossella Falk	...	Rossella
Barbara Steele	...	Gloria Morin
Madeleine Lebeau	...	Madeleine, l'attrice francese
Caterina Boratto	...	La signora misteriosa
Eddra Gale	...	La Saraghina (as Edra Gale)
Guido Alberti	...	Pace, il produttore
Mario Conocchia	...	Conocchia, il direttore di produzione
Bruno Agostini	...	Bruno - il secundo segretario di produzione
Cesarino Miceli Picardi	...	Cesarino, l'ispettore di produzione
Jean Rougeul	...	Carini, il critico cinematografico
Mario Pisu	...	Mario Mezzabotta

Also Known As:

8 1/2 (Italy) (alternative spelling)
8½ (Italy) (alternative spelling)
Eight and a Half (USA) (alternative spelling)
Federico Fellini's 8 1/2 (USA)
Federico Fellini's 8½ (USA) (complete title)
Huit et demi (France)
La bella confusione (Italy) (working title)
Otto e mezzo (Italy) (alternative spelling)

Runtime:

138 min

Country:

Italy | France

Language:

Italian | English | French | German

Color:

Black and White

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Singapore:PG | Portugal:M/12 | Australia:M (DVD rating) | Netherlands:12 (DVD rating) | South Korea:15 (DVD rating) (2003) | Italy:T | Argentina:13 | Australia:PG | Chile:14 | Finland:S | Norway:16 | Peru:14 | Sweden:15 | UK:15 (re-rating) (1989) | UK:A (original rating) | Norway:15 (2004)

Filming Locations:

Cinecittà Studios, Cinecittà, Rome, Lazio, Italy

Company:

Cineriz

Trivia:

At one point, Federico Fellini wanted to cast Laurence Olivier in the lead role.

Goofs:

Continuity: A man tells Guido that he has placed something in his right-hand pocket (a gun), when he goes to shoot himself under the table, he pulls it out of his left pocket.

Quotes:

Claudia: I don't understand. He meets a girl that can give him a new life and he pushes her away?
Guido: Because he no longer believes in it.
Claudia: Because he doesn't know how to love.
Guido: Because it isn't true that a woman can change a man.
Claudia: Because he doesn't know how to love.
Guido: And above all because I don't feel like telling another pile of lies.
Claudia: Because he doesn't know how to love.

Movie Connections:

Referenced in Texas Chain Saw Massacre: The Shocking Truth (2000) (V)

A Masterpiece

Frederico Fellini's masterwork 8 ½ is difficult to approach largely because of its reputation. Many critics also state that the film is so complex that it requires multiple viewings to understand, and this is likely to intimidate many viewers. But in truth, and in spite of its surrealistic flourishes, 8 ½ is more straight-forward than its reputation might lead you to believe.

The storyline itself is very simple. A famous director is preparing a new film, but finds himself suffering from creative block: he is obsessed by, loves, and feels unending frustration with both art and women, and his attention and ambition flies in so many different directions that he is suddenly incapable of focusing on one possibility lest he negate all others. With deadlines approaching the cast and crew descend upon him demanding information about the film--information that the director does not have because he finds himself incapable of making an artistic choice.

What makes the film interesting is the way in which Fellini ultimately transforms the film as a whole into a commentary on the nature of creativity, art, mid-life crisis, and the battle of the sexes. Throughout the film, the director dreams dreams, has fantasies, and recalls his childhood--and this internal life is presented on the screen with the same sense of reality as reality itself. The staging of the various shots is unique; one is seldom aware that the characters have slipped into a dream, fantasy, or memory until one is well into the scene, and as the film progresses the lines between external life and internal thought become increasingly blurred, with Fellini giving as much (if not more) importance to fantasy as to fact.

The performances and the cinematography are key to the film's success. Even when the film becomes surrealistic, fantastic, the actors perform very realistically and the cinematography presents the scene in keeping with what we understand to be the reality of the characters lives and relationships. At the same time, however, the film has a remarkably poetic quality, a visual fluidity and beauty that transforms even the most ordinary events into something slightly tinged by a dream-like quality. Marcello Mastroianni offers a his greatest performance here, a delicate mixture of desperation and ennui, and he is exceptionally well supported by a cast that includes Claudia Cardinale, Anouk Aimee, and a host of other notables.

I would encourage people not to be intimidated by the film's reputation, for its content can be quickly grasped. When critics state the film requires repeated viewing what they actually seem to mean is that the film holds up extremely well to repeated viewing; each time it is seen, one finds more and more to enjoy and to contemplate. Even so, I would be amiss if I did not point out that people who prefer a cinema of tidy plot lines and who dislike ambiguity or the necessity of interpreting content will probably dislike 8 ½ a great deal. For all others: strongly, strongly recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer