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>
Voted as the 10th greatest film of all time in Sight & Sound's 2012 critic's poll. See more »
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 »
man with kite:
[during the opening dream sequence while Guido floats high in the air like a kite over the beach]
Counselor, I've got him.
cardinal on horse:
Down. Come down.
[the man tugs at the tethered rope]
cardinal on horse:
Down for good.
[Guido plunges down toward the sea and the scene cuts to him waking up from this dream]
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In the American theatrical release version, Rodgers & Hart's "Blue Moon" can be heard twice: the first time, when it's played by strolling strings near the shopping plaza where Guido meets up with his wife, Luisa; the second time, when Guido goes out for a drive with the "real" Claudia. However, in the original Italian release, the song played in both scenes is "Sheik of Araby." The Criterion laserdisc features "Blue Moon," but it's "Sheik of Araby" on the DVD, possibly due to the use of different source materials. See more »
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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