Director:
Federico Fellini
Screenplay: Ennio
Flaiano, Tullo Pinelli, Federico Fellini, and Brunello Rondi based on the story
by Federico Fellini & Ennio Flaiano
Considered the greatest movie about making movies ever made,
(although a more correct analysis would be the greatest movie about not making
movies ever made) Fellini’s “8 ½”annoys all those who think he should’ve
remained in his neorealist beginning, but for me, remains the zenith of the
eccentric style that’d lead to the term, “Felliniesque.” I think style has won
out, as it remains one of Fellini’s most beloved films worldwide, although
there are some critics. Even within the movie, one guy, Carini (Jean Rougeul) continually criticizes
the movie as we’re watching it, as though Fellini had predetermined to expect
the reactions he would get for abandoning all of his neorealism ideals like in
“La Strada,” and simply just go above and beyond his tendencies to show images
and not be as interested in the story.
The opening sequence of the film involves
a dream sequence, one of many, where our hero, Guido (Marcello Mastroianni),
the director, escapes through the window of his car, which is stuck in a
traffic jam, and begins to levitate over the cars, crucified-like and begin
floating into the sky, before his assistant director pulls him down with a
string that’s tied on his foot like a kite, and this might not even rank among
the top 5 most memorable and/or amazing images in this film. Guido, a famous
director, (obviously a stand-in for Fellini himself) basically spends the whole
movie trying not to make a film that he’s supposed to make.
He’s got a producer, Pace (Guido Alberti) building huge elaborate sets that he doesn’t want to use, he’s flown in actors
from other countries to play parts that don’t exist anymore, or may have never
in fact existed, all the while juggling between his wife Luisa (Anouk Aimee) and his mistress Carla (Claudia Cardinale), and
juggling them very poorly. Almost every character from the smallest extra to
the pope himself seems to have something to say to him, and he isn’t the least
bit interested. Instead, he divulges into childhood memories, and dream
sequences, and even fantasy sequences, the most infamous of which is one where
all the women in his life, or have ever been in his life are living in some
sort of castle awaiting their hero’s return, because they all want Guido,
although they start to turn on him when one of the women must go upstairs
forever because she has turned 30. It’s a Freudian wet dream gone to its
wildest, most ridiculous, most logical, and most insane conclusion.
If you’re
having trouble making heads or tails out of this, don’t worry, you’re not the
only one, the whole point of the movie is that none of it makes any sense, even
the title is completely nonsensical. A Broadway Musical based on the film
called “Nine,” tried to make sense of it, and it doesn’t work out that well. (Especially
not the recent movie adaptation) The film is simply about the chaotic
circumstances under which films are made, and the circus-like atmosphere that makes
logical- thinking people feel like they’re ringmastering. Really, isn’t every
boss just a guy trying to keep all his plates spinning on sticks?
“8 ½”
is Fellini’s best movie. His most beloved film is “La Dolce Vita,” and that's probably the one I most personally love, but nothing
shows the true art of Fellini as well as this film. To describe the movie is
simply to describe one amazing image after another, and that’s the way the
movie should be enjoyed. To sit back and watch as one more thing piles on top
of his troubles, whether they’re real, in his head, or both.
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