8 1/2

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Turiyan G Little known factoid. The first Mossad hit occurred during the premier of Fellini's 8 1/2 in Italy. It must have only been a few minutes in, what a great last thing to see before your brains are blown out by a .22. Rated 5/5 Stars •  Rated 5 out of 5 stars 05/23/24 Full Review acsdoug D Yes, I know, I'm ruining any chance I have of defining myself as a cinema aficionado, but I just couldn't get into this one. I found it rather boring. Rated 2/5 Stars •  Rated 2 out of 5 stars 05/12/24 Full Review Giuseppe F Absolutely a masterpiece. An oniric, surrealistic opera from the master Fellini. Claudia cardinale cameo in the final scenes is the cherry on top. Rated 5/5 Stars •  Rated 5 out of 5 stars 11/08/23 Full Review Joel H I saw 8½ in a film class many years ago. Before it began, our professor informed the class this this is one of the greatest films of all time and that Federico Fellini is a filmmaking genius. However, that just proves that cinema is a subjective art form. It doesn't matter how many people say a film is amazing, it can still be awful for some viewers. This movie is the type that most people think of when someone says, "foreign art film." It's pretentious, confusing, and completely boring. Maybe I'll have to trade in my film nerd card for saying all of this, but I don't like most of Fellini's work. Rated 1/5 Stars •  Rated 1 out of 5 stars 11/03/23 Full Review Alexsander F Muito bom o filme! Com diálogos interessantíssimos . Rated 5/5 Stars •  Rated 5 out of 5 stars 07/02/23 Full Review Matthew D There's no easy answer to the strange and exciting chaos of 8 ½! Italian auteur Federico Fellini's Italian surrealist comedy-drama 8½ (1963) is quite enthralling and totally original. Fellini crafts a strange, surrealist take on the struggles of creative blocks a director must overcome. But 8 1⁄2 is so much more than the plot of a director coming to terms with the fact that he does love his wife that he's been unfaithful to or that he's in over his head in making an ambitious sci-fi epic in Italian in the 1960's. Fellini genuinely made one of the greatest and most daring films of the entire 1960's and in the history of cinema. I almost cannot believe it is real as nothing this odd, surreal, esoteric, ambiguous, or visionary gets made anymore. Fellini's endlessly creative direction is bold and dreamy. I was constantly struck with how fluid the scenes felt, ever changing as more cast and crew members approached the director with complaints or women flirted with Guido in a hopeless search for his love. Fellini shows us old meaningful memories in dreamy flashbacks, a confused director named Guido uncertain of his picture's intentions, a man cheating on his faithful wife, and a wife who knows of his infidelity. Editor Leo Catozzo's abrupt cuts to flashbacks and then into reality or dreams is always shocking. I love how Fellini will have a scene play out in a long take for an entire conversation as cinematographer Gianni Di Venanzo will pan the camera around in wide shots to capture an entire party or meeting. The strange and creative perspectives are sincerely fascinating to see with magnificent close-ups on eyes and faces or swiftly sweeping medium shots. Writers Federico Fellini, Tullio Pinelli, Ennio Flaiano, and Brunello Rondi weave an intricate narrative around the eccentric direction of Fellini. I appreciate the sympathy for women and the reflective nature towards the main man Guido looking back on his life. Their words feel humorous, philosophical, romantic, heartbreaking, or just plain silly as needed. Fellini is ruthless when making fun of his director character for his sordid past with numerous women, while sympathetic towards the wife who Guido is so inconsiderate towards as he cheats. Italian actor Marcello Mastroianni is fascinating as conflicted film director Guido Anselmi. He's supposed to be resting, but he's constantly bothered by people around him. Mastroianni is entertaining with his frustrated faces and forlorn expressions. Mastroianni channels Fellini's frustrations and Catholic guilt into the complex portrait of an intricate film director. Marcello Mastroianni delivers a marvelous dramatic performance that can be comedic or romantic on a dime. Italian actress Claudia Cardinale is lovely and voluptuous as Guido's ideal woman film starlet Claudia. Her alluring eyes and playful smile juxtapose her harsh criticisms of his sexism and lack of understanding about love and women. She's fun in her brief dreamy appearances. French actress Anouk Aimée is a scream as Guido's estranged wife Luisa Anselmi. She knows of his infidelity and yells at Guido with a realistic fury and disappointment at his shameful behavior. Anouk is amazingly pretty and likable. I immediately her pain and frustration at his faithlessness. She steals the entire film for me. Italian actress Sandra Milo is hysterical, bubbly, and gorgeous as Guido's talkative mistress Carla. She's so playful, cute, and funny with her comic book reading and pencil thin eyebrows drawn on by Marcello. I liked how she finds all sorts of ways to have fun. Italian actress Rossella Falk is a riot as Luisa's best friend who is scolding Guido for cheating on Luisa. She's a neat confidante as well as comedic relief from the marital tensions Guido and Luisa are going through. English actress Barbara Steele is lovely as Mezzabotta's new young girlfriend Gloria Morin. Her large eyes are so expressive and I liked her 50's dancing and mod hair. Mario Pisu is hilariously pathetic and sweaty as Guido's older friend Mario Mezzabotta. He's trying to be younger with his young English wife. French actress Madeleine Lebeau is elegant and fun as the French actress Madeleine, always begging Guido to know what role she is supposed to play in this esoteric sci-fi picture. Italian actress Caterina Boratto is intriguing as a mysterious lady in the hotel like the boisterous American actress Eddra Gale as the excitable prostitute from Guido's past La Saraghina. Guido Alberti is a riot as the constantly complaining film producer Pace, who wants definite answers from Marcello's Guido. Mario Conocchia is great as the forlorn production assistant Conocchia, thinking he's done in the industry. Jean Rougeul is fun as the philosophizing film critic Carini Daumier. Production designer Piero Gherardi makes a huge spaceship scaffolding set outdoors like the massive hotel. Set decorator Vito Anzalone puts all types of luxurious furniture everywhere. Composer Nino Rota creates both touching romantic melodies and hysterically chaotic music for Fellini. Sound designers Alberto Bartolomei and Mario Faraoni play around with mouth made noises for a lark besides the cacophony of voices colliding at once around Guido. Costume designer Piero Gherardi outdoes himself with lavish Italian designer suits and cloaks. I wish I could afford to dress like Marcello Mastroianni throughout 8 1⁄2. Makeup artist Otello Fava makes Marcello have cool silver hair and lets every actress look dazzling. Hairstyling from Renata Magnanti gives each lady massive flowing tresses. I liked the cute almost pixie cut for Anouk. In conclusion, Fellini certainly got his vision through into the miracle of cinema that is 8 ½. Rated 5/5 Stars •  Rated 5 out of 5 stars 06/12/23 Full Review Read all reviews

8 1/2

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