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(1963)

 -  Drama | Fantasy  -  25 June 1963 (USA)
8.2
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Ratings: 8.2/10 from 61,548 users  
Reviews: 203 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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8½ (1963) on IMDb 8.2/10

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Top 250 #197 | Won 2 Oscars. Another 15 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:

More sensational than "La Dolce Vita" 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

The original ending scene featured Guido and his wife sitting together in the restaurant car of a train bound for Rome. Lost in thought, Guido looked up to see all the characters of his film smiling ambiguously at him as the train entered a tunnel. Federico Fellini then shot an alternative ending set around the spaceship on the beach at dusk but with the intention of using the scenes as a trailer for promotional purposes only. He and his co-writers, however, decided that this alternate sequence served as a more harmonious and exuberant ending to the film. 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

Guido: Could you walk out on everything and start all over again? Could you choose one single thing, and be faithful to it? Could you make it the one thing that gives your life meaning... just because you believe in it? Could you do that?"
Claudia: I don't know... could you?"
Guido: No, the character I'm thinking of couldn't. He wants to possess and devour everything. He can't pass anything up. He's afraid he'll miss something. He's drained.
Claudia: That's how the film ends?
Guido: No, that's how it begins. Then he meets a girl at ...
[...]
See more »

Connections

Referenced in Fellini Narrates: A Discovered Self-Portrait (2000) See more »

Soundtracks

The Ride of the Valkyries
from "Die Walküre"
Composed by Richard Wagner
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A Masterpiece
24 April 2005 | by (Biloxi, Mississippi) – See all my reviews

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


244 of 281 people found this review helpful.  Was this review helpful to you?

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