A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
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 <firstname.lastname@example.org>
This film talks about you...about your life...about your family...about your work...about your doubts...about your dreams...You will see yourself in the leading role as though you were looking in a mirror...This is your film. See more »
The film's working title was "La Bella Confusione", i.e. "The Beautiful Confusion". See more »
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 »
I thought my ideas were so clear. I wanted to make an honest film. No lies whatsoever. I thought I had something so simple to say. Something useful to everybody. A film that could help bury forever all those dead things we carry within ourselves. Instead, I'm the one without the courage to bury anything at all. When did I go wrong? I really have nothing to say, but I want to say it all the same.
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Federico Fellini gets Marcello Mastroianni to play him. Yes. Right? Of course. The artistic block is something that Fellini dealt with all his life - Orson Welles once said that Fellini was a great artist with very little to say - that's part of Mastroianni/Fellini's block - He knows where he wants to go but he doesn't know if he has what it takes to get there - then of course the the distractions or excuses whatever you prefer, they are muses, mothers, loves, wives. I was overwhelmed by the access Fellini provides to his own heart and mind and by the audacity and poetry of the film. 8 1/2 stands alone in the virtual mausoleum of world cinema.
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