8½

Guido Anselmi is a film director who is preparing for his latest film. However with casting in progress and mere days until shooting begins, he is still unsure of his story or even his theme. He feels trapped and pressured from all sides, like he is totally out of control and at the mercy of himself and others. While he is haunted by memories of his past, his present appears to be coming apart as well. In the middle of all his affairs, his women, his attempts at art and making successful films, Guido is lost and unsure of where he is going.

And that is about a good a plot summary as I can manage I am afraid! I saw this film many years ago in an art cinema when I was even more of a movie snob than I am now; nowadays I settle to see this sort of film in my own home without feeling the need to make a special effort to appear elitist! Anyway, in order to review it I watched it again the other night and I am finding myself under as much pressure as Guido himself! Do I just go with the flow and hail this as a piece of art and therefore make myself stand out as an intelligent, contemplative film watcher or do I write a more balanced, true opinion that reflects my real opinion even if it means it will appear that I am just not arty and intelligent enough to 'get it' and will get messages telling me to stick to action blockbusters! Well, I'm afraid that the latter is the only option for me.

This is not preparing the way for me to dismiss the film because I found it curiously watchable and interesting as a very personal sort of film. I do not know enough about Fellini to be able to say this was his life on screen but it certainly had the feel of being a very intimate story that was more about Guido's feelings and fears than any specific narrative about making the film. As such it was difficult to really get into and I found it all to be a bit obscure at times, requiring the viewer to do a lot of work to keep up without offering much in the way of help in understanding the characters and their lives. It was still interesting because Guido did have some aspect that became clear if you stuck with it but generally a little help would have been appreciated. Without this help the film appears to be freewheeling without a frame in the manner that very personal films often do – the director understands the significance of every shot and he forgets that, without his frame of reference, we do not. This is best illustrated in the melting of scenes in the body of the film and the end of the film that is hard to interpret satisfactorily.

Time has not helped the film either and it does appear very dated now, with the images already in the mind of the first time viewer from other films, whether they be Woody Allen or Pulp Fiction, this has gradually become a film that is important to see because of the directors influence on cinema rather than on the merits of the film on its own. I sound a bit harsh because this is what I felt but I still did think that my time was well spent watching the movie because it was imaginative and it was a chance to experience Fellini in full flow in a very personal seeming film. On top of that, this is a very influential film and, for all my difficulties penetrating it, I still felt that it was one that I should see to try and recognise its influence and its importance to those directors who are the artists of my generation. The cast seem a bit unaware of the meaning of the whole thing as well and the only one that I looked like he had really connected with Fellini was, fortunately, Mastroianni. He really helped me get into his character and he brought a lot to the film with his performance – even when he wasn't doing anything he is still a great screen presence. The rest of the cast are not quite as good and really concentrate on being larger than life characters – only Aimee and a couple of those playing the other main women really struck a note with me.

Overall this is still considered a classic and influential film and that is the reason I came back to watch it again. However it is also a dated film that is difficult to get into because it is such a personal film; but then this is also why I found it interesting, as I tried to work out the meaning of the scenes and the character of Guido. Many viewers will wonder what all the fuss is about and, in a way, they are right because the film is mainly worth seeing for its influence rather than on its own merits; but with the well shot images, good direction, personal touches and thought provoking material it is still worth seeing: just don't expect it to live up to the high praise that many famous fans and viewers have been heaping on it for all these years.

Fellini's 8 1/2 opens with a stunning dream sequence in which a man is trapped in his car in the middle of a traffic jam. The doors and windows are locked and there is no escape. Other drivers simply sit and stare at him passively. The driver starts to panic as smoke begins to build up within the car. Propelling himself outside a window, he floats over the other cars and soars above the world until he is pulled down a rope attached to a tether on his ankle. The driver is Guido Anselmi (Marcello Mastroianni), a film director at odds with himself. Shot in black and white, 8 1/2 is an exhilarating, confusing, irritating, and inspired journey into a man's consciousness. It is not just a look at the inner turmoil of one person, but also a commentary on each person's struggle to make sense of their life. The film's combination of kaleidoscopic images, evocative score by Nino Rota, and amazing performances ensure its place as one of the greatest films of the century.

Guido is preparing to shoot a new film with an expensive budget. He constructs a huge spaceship launch pad that costs $80 million but he is unsure of what he wants to say. Guido's dishonesty in dealing with his marriage, his career, and the fact that he really does not want to make the film forces him to falsely mislead people as to his true intentions. He feels like a failure and is physically spent. He checks into a spa to restore his health and well being but the contingent of producers, actors, writers, and hangers on undermine his strength. His feeling of being overwhelmed by personal and professional obligations provides the catalyst for dreams and fantasies that take him back to his childhood.

Fellini shows his encounter with the prostitute Saraghina (Eddra Gale) and the guilt he has to deal with in a confrontation with the Catholic Church. Guido invites his intellectual wife Luisa (Anouk Aimée) to the set but their relationship has turned cold and passionless, and sparks fly when she has to confront Carla (Sandra Milo), his buxom mistress. Guido is misguided but he has an innocence and charm that allows us to overlook his indulgences. He enjoys his pleasures but has a conscience and feels guilty about cheating on Luisa whom he loves and is afraid of losing. He fantasizes that all of the women in his life are together in a harem where they all dote on his every whim. When they finally recognize how little he cares about them, he is forced to suppress their revolt.

As image piles on image and the fantasy becomes indistinguishable from the reality, the viewer may get lost in a maze of dazzling incoherence. Fellini, however, always returns to solid ground and the film offers not only a satire on the frenzy, the uncertainty, and the clash of egos involved with making a film but also a serious commentary on the importance of honesty in a relationship. If 8 1/2 is occasionally exhausting, the ending is invigorating, letting us know that life is a game in which each of us is on the stage performing our roles and the only sane response to its turmoil is to join hands in love and celebrate the moment.

Fellini's films is one of the main reasons I came to love movies in the first place. I first saw 8 1/2 several years ago. I remember it quite clearly: I went to see it with a small group of fellow students at a friend's house. It was at the beginning of a now already long-since destroyed relationship. It was a cold day in early January. As the film started, a girl who was there, who happened to be a make-up artist and hairdresser by profession, remarked on the odd juxtaposition in the opening scenes of hair-styles and dresses from different eras, the 30's and the 60's. Surely, this was a strange anachrony?

My friend calmly remarked: "Time doesn't exist."

Heck, I won't pretend to know just what he meant by that, perhaps it wasn't as profound as it sounded. In any case, after that, no one spoke. For the next couple of hours, I certainly lost track of place and time, as I was hypnotized, mesmerized and amazed by the images on the screen. Since then, I've always kept a copy of it within reach (even though I am one of those people who can usually never hang on to my possessions for any length of time), and it has lost none of its power to continually amaze me. I've seen it more times than I can count, and yet, it must always be seen again. It's a movie about which everything seems to have been said, and yet, everything still remains to be said. Thanks to the wonders of DVDs and MPEG encoding, I can keep it one mouse-click away whenever I'm working on my computer. I must admit that by now, its already from the outset discontinuous and jumbled content has been spread all over the place for me. Unlike Woody Allen, I'm not anal. I've never had a compulsion to have to watch movies straight from beginning to end, without interruptions. Of course, that's how I watched 8 1/2 the first few times, but now it seems that I'm always chopping it up, skipping at will between my favorite sections, always moving around it and rearranging it in new and unexpected ways. I hope Fellini, in his Heaven, forgives me for it, because it seems to me that I'm in a way just continuing what he began. 8 1/2, even in its purest state, does of course blow the traditional temporal narrative, with a defined beginning, middle and end and a causal relationship between its parts, to complete smithereens, and in the jumbled landscape that is left behind, nothing can ever be as it was before, as what we are left with is a completely new world, of new possibilities and new kinds of beauty. It's a story of dream-logic, held together by different kinds of connections that transcend temporal sequence and causal relationships. It's a film that never begins, and still has always been there.

It's a movie about the most glorious success that can only be brought around through complete failure. It's about how we can only find ourselves when we let go of ourselves - and discover that the only place we can fall is into ourselves, our true selves. It's the ultimate self-referential masterpiece, and the ultimate piece of self-reference, as it is, of course, about nothing except itself.

It really is, in my opinion, the best movie in the world, and by now I can't even imagine a world without it. That's really all I want to say.

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

After 8 or 9 unsuccessful attempts in the past, at long last I somehow managed to sit through & stay awake for the entirety of this unfathomable bore but at what personal cost. A towering feat of cinematic boredom that arguably has no equals, this avant-garde surrealist comedy-drama turned out to be exactly what I presumed it would be: too far up its own ass.

Co-written & directed by Federico Fellini, the story of 8½ concerns a famous filmmaker who no longer remembers the film he wanted to make. The idea came from Fellini's own creative block during production and through all the pain that he underwent, he decided to make a story that captures the similar frustrations so that the audience can suffer just as much as he did.

On a serious note though, the film does acquaint the viewers to an extent with the struggles of creating art and the personal sacrifices that the process demands. It's an exhibition of what a director's job actually looks like and how regardless of his professional & personal issues, he's expected to deliver. It is aimless & convoluted like the film within the film coz it is the film within the film.

Overall, 8½ is a tedious, overlong & self-indulgent exercise that left me indifferent to everything it had in store and while I see the brilliance of its metafictional construction, the drama remains an insufferable eyesore filled with characters as bland & uninteresting as they can get. And the dream sequences are even worse. In short, this film is nothing more than a mere tick mark on a checklist for me.