IMDb > 8½ (1963)
8½
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(1963) More at IMDbPro »

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8½ -- Corinth's NEW restored HD digital trailer of the Italian masterpiece 8 1/2.
8½ -- Trailer for this Fellini classic

Overview

User Rating:
8.2/10   62,132 votes »
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Director:
Writers:
Federico Fellini (story) &
Ennio Flaiano (story) ...
(more)
Contact:
View company contact information for 8½ on IMDbPro.
Release Date:
25 June 1963 (USA) See more »
Genre:
Tagline:
A picture that goes beyond what men think about - because no man ever thought about it in quite this way! See more »
Plot:
A harried movie director retreats into his memories and fantasies. Full summary » | Add synopsis »
Plot Keywords:
Awards:
Won 2 Oscars. Another 20 wins & 9 nominations See more »
User Reviews:
A Masterpiece See more (204 total) »

Cast

  (in credits order) (verified as complete)

Marcello Mastroianni ... Guido Anselmi

Claudia Cardinale ... Claudia

Anouk Aimée ... Luisa Anselmi (as Anouk Aimee)

Sandra Milo ... Carla
Rossella Falk ... Rossella

Barbara Steele ... Gloria Morin
Madeleine Lebeau ... Madeleine, l'attrice francese
Caterina Boratto ... La signora misteriosa
Eddra Gale ... La Saraghina (as Edra Gale)
Guido Alberti ... Pace, il produttore
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 ... Mario Mezzabotta
Yvonne Casadei ... Jacqueline Bonbon
Ian Dallas ... Il partner della telepata
Mino Doro ... L'agente di Claudia
Nadia Sanders ... Nadine, la Hostess (as Nadine Sanders)
Georgia Simmons ... La nonna di Guido
Edy Vessel ... L'indossatrice (as Hedy Vessel)
Tito Masini ... Il cardinale
Annie Gorassini ... L'amica del produttore
Rossella Como ... Un'amica di Luisa
Mark Herron ... Il corteggiatore di Luisa
Marisa Colomber ... Una zia di Guido
Neil Robinson ... L'agente dell'attrice francese
Elisabetta Catalano ... Matilde, la sorella di Luisa
Eugene Walter ... Il giornalista americano
Hazel Rogers ... La negretta
Gilda Dahlberg ... La moglie del giornalista americano
Mario Tarchetti ... L'ufficio di stampa di Claudia
Mary Indovino ... La telepata
Frazier Rippy ... Il segretario laico
Francesco Rigamonti ... Un'amico di Luisa
Giulio Paradisi ... Un'amico
Marco Gemini ... Guido da ragazzo
Giuditta Rissone ... La madre di Guido
Annibale Ninchi ... Il padre di Guido
rest of cast listed alphabetically:
Antonio Acqua ... Bit Part (uncredited)
Gideon Bachman ... Bit Part (uncredited)
Maria Antonietta Beluzzi ... Bit Part (uncredited)
Agnes Bonfanti ... Bit Part (uncredited)
Deena Boyer ... Bit Part (uncredited)
Mathilda Calnan ... Un'amica di Luisa (uncredited)
Giulio Calì ... Un uomo ai fanghi (uncredited)
Franco Caracciolo ... Young Priest (uncredited)
Anna Caramini ... Bit Part (uncredited)
Olimpia Cavalli ... Bit Part (uncredited)
Elisabetta Cini ... Un cardinale (uncredited)
Alfredo De Lafeld ... Bit Part (uncredited)
Sebastiano De Leandro ... Bit Part (uncredited)
Dina De Santis ... Dina, 'nipote' di Cesarino (uncredited)
Edward Fleming ... Bit Part (uncredited)
Grazia Frasnelli ... Bit Part (uncredited)
Sonia Gessner ... Bit Part (uncredited)
Eva Gioia ... Eva, 'nipote' di Cesarino (uncredited)
Riccardo Guglielmi ... Guido da bambino (uncredited)
John Karlsen ... L'uomo in auto (uncredited)
John Francis Lane ... Bit Part (uncredited)
Valentina Lang ... Bit Part (uncredited)
Annarosa Lattuada ... Bit Part (uncredited)
Palma Mangini ... La vecchia alla fattoria (uncredited)
Roberto Nicolosi ... Bit Part (uncredited)
Polidor ... Un pagliaccio (uncredited)
Maria Raimondi ... Una zia di Guido (uncredited)

Nino Rota ... Bit Part (uncredited)
Luciana Sanseverino ... Bit Part (uncredited)
John Stacy ... Il cassiere (uncredited)
Maria Tedeschi ... La direttrice della scuola (uncredited)
Flaminia Torlonia ... Bit Part (uncredited)
Roberta Valli ... La ragazza alla fattoria (uncredited)
Maria Wertmuller ... Bit Part (uncredited)
Vadim Wolkowsky ... Bit Part (uncredited)

Directed by
Federico Fellini 
 
Writing credits
Federico Fellini (story) &
Ennio Flaiano (story)

Ennio Flaiano (screenplay) &
Tullio Pinelli (screenplay) &
Federico Fellini (screenplay) &
Brunello Rondi (screenplay)

Produced by
Angelo Rizzoli .... producer
 
Original Music by
Nino Rota 
 
Cinematography by
Gianni Di Venanzo 
 
Film Editing by
Leo Cattozzo  (as Leo Catozzo)
 
Production Design by
Piero Gherardi 
 
Art Direction by
Piero Gherardi 
 
Set Decoration by
Vito Anzalone 
 
Costume Design by
Piero Gherardi 
Leonor Fini (uncredited)
 
Makeup Department
Otello Fava .... makeup artist
Renata Magnanti .... hair stylist
 
Production Management
Mario Basili .... production manager
Clemente Fracassi .... production manager
Nello Meniconi .... production supervisor
 
Second Unit Director or Assistant Director
Francesco Aluigi .... assistant director
Guidarino Guidi .... second assistant director
Giulio Paradisi .... assistant director
Alessandro von Norman .... assistant director (as Alessandro Norman)
Lina Wertmüller .... third assistant director (uncredited)
 
Art Department
Luciano Ricceri .... assistant scenic designer
Brunello Rondi .... artistic advisor
 
Sound Department
Alberto Bartolomei .... sound
Mario Faraoni .... sound
 
Camera and Electrical Department
Pasqualino De Santis .... camera operator (as Pasquale De Santis)
 
Costume and Wardrobe Department
Orietta Nasalli-Rocca .... assistant costume designer (as Orietta Nasalli Rocca)
Clara Poggi .... tailor
 
Editorial Department
Adriana Olasio .... assistant editor
 
Other crew
Mirella Gamacchio .... script supervisor
Angelo Iacono .... production assistant
Albino Morandini .... production assistant (as Albino Morandin)
Mario Basili .... production assistant (uncredited)
Mario Carotenuto .... voice dubbing: Mario Conocchia (uncredited)
Renata Marini .... voice dubbing: Anouk Aimée (uncredited)
Elio Pandolfi .... voice dubbing: Frazier Rippy (uncredited)
Stefano Satta Flores .... voice dubbing: Guido Alberti (uncredited)
 
Crew believed to be complete


Production CompaniesDistributors

Additional Details

Also Known As:
"Federico Fellini's 8 1/2" - USA
"Federico Fellini's 8½" - USA (complete title)
See more »
Runtime:
138 min
Country:
Language:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:13 | Australia:PG | Australia:M (DVD rating) | Chile:14 | Finland:S | Germany:12 | Italy:T | Netherlands:12 (DVD rating) | Netherlands:AL (TV rating) | Norway:16 | Norway:15 (2004) | Peru:14 | Portugal:M/12 | Singapore:PG | South Korea:15 (DVD rating) (2003) | Sweden:15 | UK:A (original rating) | UK:15 (re-rating) (1989) | USA:Not Rated
Company:

Did You Know?

Trivia:
Because of a strike at the development & print lab at Cinecittà, during post-production, Federico Fellini was unable to check the daily shoot. He reportedly never took vision of the filmed material until the movie editing phase.See more »
Goofs:
Continuity: 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:All the confusion of my life... has been a reflection of myself! Myself as I am, not as I'd like to be.See more »
Movie Connections:
Referenced in Amy George (2011)See more »
Soundtrack:
The Ride of the ValkyriesSee more »

FAQ

Is this movie based on a novel?
What does the 8½ in the title stand for?
What make of sunglasses was Guido wearing?
See more »
245 out of 282 people found the following review useful.
A Masterpiece, 24 April 2005
Author: gftbiloxi (gftbiloxi@yahoo.com) from Biloxi, Mississippi

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

Was the above review useful to you?
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