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(1963)

 -  Drama | Fantasy  -  25 June 1963 (USA)
8.2
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Ratings: 8.2/10 from 62,875 users  
Reviews: 204 user | 122 critic

A harried movie director retreats into his memories and fantasies.

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(story), (story), 4 more credits »
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Top 250 #200 | Won 2 Oscars. Another 16 wins & 8 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
Luisa Anselmi (as Anouk Aimee)
...
Rossella Falk ...
...
Madeleine Lebeau ...
Madeleine, l'attrice francese
Caterina Boratto ...
Eddra Gale ...
La Saraghina (as Edra Gale)
Guido Alberti ...
Mario Conocchia ...
Conocchia, il direttore di produzione
Bruno Agostini ...
Bruno - il secondo segretario di produzione
Cesarino Miceli Picardi ...
Cesarino, l'ispettore di produzione
Jean Rougeul ...
Carini, il critico cinematografico
Mario Pisu ...
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Storyline

Guido is a film director, trying to relax after his last big hit. He can't get a moment's peace, however, with the people who have worked with him in the past constantly looking for more work. He wrestles with his conscience, but is unable to come up with a new idea. While thinking, he starts to recall major happenings in his life, and all the women he has loved and left. An autobiographical film of Fellini, about the trials and tribulations of film making. Written by Colin Tinto <cst@imdb.com>

Plot Summary | Add Synopsis

Taglines:

A picture that goes beyond what men think about - because no man ever thought about it in quite this way! See more »

Genres:

Drama | Fantasy

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

| | |

Release Date:

25 June 1963 (USA)  »

Also Known As:

 »

Box Office

Opening Weekend:

$11,947 (USA) (9 April 1999)

Gross:

$50,690 (USA) (23 April 1999)
 »

Company Credits

Production Co:

,  »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Federico Fellini:  [vaudeville]  The street magician's appearance and act. See more »

Goofs

When Guido visits Carla during her illness, a strap of her slip disappears in the close shot after she rolls over, but is apparent in longer shots both prior and after. See more »

Quotes

Writer: You see, what stands out at a first reading is the lack of a central issue or a philosophical stance. That makes the film a chain of gratuitous episodes which may even be amusing in their ambivalent realism. You wonder, what is the director really trying to do? Make us think? Scare us? That ploy betrays a basic lack of poetic inspiration.
See more »

Connections

Referenced in Cinecittà: La casa di F. Fellini (2004) See more »

Soundtracks

Concertino alle Terme: Sinfonia
(uncredited)
Written by Nino Rota
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Exhilarating and inspired
26 April 2004 | by (Vancouver, B.C.) – See all my reviews

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.


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