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(1963)

 -  Drama | Fantasy  -  25 June 1963 (USA)
8.2
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Ratings: 8.2/10 from 59,114 users  
Reviews: 202 user | 119 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 #189 | Won 2 Oscars. Another 14 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

Plot Keywords:

director | spa | mistress | actress | memory | See more »

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 attached a note to himself below the camera's eyepiece which read, "Remember, this is a comedy." See more »

Goofs

When Guido and Claudia go out for their drive, they stop near some springs. Guido exits the passenger side of the car (off camera); we hear the door open and close. But when Claudia, who was driving, steps out moments later (also off camera), we never hear her door open or close. See more »

Quotes

Claudia: I don't understand. He meets a girl that can give him a new life and he pushes her away?
Guido: Because he no longer believes in it.
Claudia: Because he doesn't know how to love.
Guido: Because it isn't true that a woman can change a man.
Claudia: Because he doesn't know how to love.
Guido: And above all because I don't feel like telling another pile of lies.
Claudia: Because he doesn't know how to love.
See more »

Connections

Referenced in Eraserhead (1977) See more »

Soundtracks

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

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

"I really have nothing to say, but I want to say it anyway".
4 November 2005 | by See all my reviews

Fellini's films is one of the main reasons I came to love movies in the first place. I first saw 8 1/2 several years ago. I remember it quite clearly: I went to see it with a small group of fellow students at a friend's house. It was at the beginning of a now already long-since destroyed relationship. It was a cold day in early January. As the film started, a girl who was there, who happened to be a make-up artist and hairdresser by profession, remarked on the odd juxtaposition in the opening scenes of hair-styles and dresses from different eras, the 30's and the 60's. Surely, this was a strange anachrony?

My friend calmly remarked: "Time doesn't exist."

Heck, I won't pretend to know just what he meant by that, perhaps it wasn't as profound as it sounded. In any case, after that, no one spoke. For the next couple of hours, I certainly lost track of place and time, as I was hypnotized, mesmerized and amazed by the images on the screen. Since then, I've always kept a copy of it within reach (even though I am one of those people who can usually never hang on to my possessions for any length of time), and it has lost none of its power to continually amaze me. I've seen it more times than I can count, and yet, it must always be seen again. It's a movie about which everything seems to have been said, and yet, everything still remains to be said. Thanks to the wonders of DVDs and MPEG encoding, I can keep it one mouse-click away whenever I'm working on my computer. I must admit that by now, its already from the outset discontinuous and jumbled content has been spread all over the place for me. Unlike Woody Allen, I'm not anal. I've never had a compulsion to have to watch movies straight from beginning to end, without interruptions. Of course, that's how I watched 8 1/2 the first few times, but now it seems that I'm always chopping it up, skipping at will between my favorite sections, always moving around it and rearranging it in new and unexpected ways. I hope Fellini, in his Heaven, forgives me for it, because it seems to me that I'm in a way just continuing what he began. 8 1/2, even in its purest state, does of course blow the traditional temporal narrative, with a defined beginning, middle and end and a causal relationship between its parts, to complete smithereens, and in the jumbled landscape that is left behind, nothing can ever be as it was before, as what we are left with is a completely new world, of new possibilities and new kinds of beauty. It's a story of dream-logic, held together by different kinds of connections that transcend temporal sequence and causal relationships. It's a film that never begins, and still has always been there.

It's a movie about the most glorious success that can only be brought around through complete failure. It's about how we can only find ourselves when we let go of ourselves - and discover that the only place we can fall is into ourselves, our true selves. It's the ultimate self-referential masterpiece, and the ultimate piece of self-reference, as it is, of course, about nothing except itself.

It really is, in my opinion, the best movie in the world, and by now I can't even imagine a world without it. That's really all I want to say.


8 of 14 people found this review helpful.  Was this review helpful to you?

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