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(1963)

 -  Drama | Fantasy  -  25 June 1963 (USA)
8.2
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Ratings: 8.2/10 from 62,064 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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8½ (1963) on IMDb 8.2/10

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Top 250 #199 | Won 2 Oscars. Another 20 wins & 9 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
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Did You Know?

Trivia

In 2002, named by "Positif" (France) as one of the 50 best films of the last 50 years (critics' choice: #3) See more »

Goofs

When Guido visits the cardinal in the mud bath, the cardinal is sitting in a chair, fully dressed in his cassock, as two attendants use a sheet to form a curtain around him; however, as the camera cuts to a closer angle, the cardinal is suddenly undressed to the waist. See more »

Quotes

Guido: My Dears... Happiness consists of being able to tell the truth without hurting anyone.
See more »

Connections

Featured in Terry Gilliam on Federico Fellini's 8½ (2001) See more »

Soundtracks

Nocturne No. 2 in E flat Major, Op. 9,2
(uncredited)
Written by Frédéric Chopin
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A fresh cinematic miracle
26 February 2005 | by (USA) – See all my reviews

8 1/2 remains one of the most original and spellbinding films I know of. One of the beauties of cinema is to merge the artist's memory and fantasy; Fellini certainly utilized this magic to present his story and characters that embody both humanity and mystery. This film is an autobiographical piece (of Fellini himself) about a movie director named Guido, how his life is consumed by his increasing obsession with work. He avoids questions and problems as if they will go away somehow, only to experience more questions and problems. Ultimately, Guido realizes the only way to solve his problems is to face them rather than escaping, accepting himself instead of wishing he was someone else.

The opening sequence--one of the most deftly crafted--is taken from Guido's movie (or his dream - can't remember for sure). The sequence brilliantly captures Guido's problems (which are dealt with in the rest of the picture) and exposes them metaphorically: him STUCK in traffic, TRAPPED in smoke, SUFFOCATING, wanting to escape, and pulled back down by his peers. Guido wants to make a movie about his (and Fellini's) MEMORIES: how once upon a time he learned about a chant that moves pictures, and the time he danced with the fat feminine prostitute figure. The other main component of his movie involves launching into space, a FANTASY that reflects Guido's (and Fellini's) desire to escape from worldly matters. In real life, Guido is having problems with everything from his wife to his movie. So he thinks a beautiful actress, whom he fantasizes but knows little to nothing about, will be the solution to all his problems. When Guido meets the actress, he realizes she can't solve his problems, only he himself has the choice. This realization leads to the film's closure, with Guido having learned what's important to him and the inevitability of taking responsibility.

One of the film's powerful features is ambiguously blending Guido's world with his imaginations. Thus the audience is constantly deciphering the context of what's on the screen. This invitation to participate in the film is welcome, and if we think about it, a person like Guido who lives in his office might not be able to tell at times whether an event happened in his life or inside his mind.


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