Eight and a half 1963
- Eight and a half (1963)
- SCENE WITH MARCELLO MASTROIANNI 8 1/2 EIGHT AND A HALF (1963)
- Eight and a Half (1963, 138 min) - directed by Federico Fellini
Eight and a half (1963)
8 1?2 is a Italian surrealist comedy-drama film directed by Federico Fellini. Co-scripted by Its title refers to its being Fellini's eighth and a half film as a director. His previous .. alqurumresort.com eight-and-a-half; ^ "The Sight & Sound Directors' Top Ten." British Film.and get how
It was shown out of competition at Cannes, but received enthusiastically. In , though, reviewers, me included, were somewhat nonplussed. I reviewed the film back then for the Hudson Review , and like most critics of the day, I was disconcerted by an autobiographical film. Like virtually all writers about this film, I've come in to be as enthusiastic as I was negative in Its hero is a film director, Guido Anselmi, played by Marcello Mastroianni, His name is a combination of a poet and a painter, both of women. Guido means "guide" as this Guido will more or less do. Anselmi means "helmet of the gods," and presumably this refers to the hat, like Fellini's own, that Guido wears throughout.
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SCENE WITH MARCELLO MASTROIANNI 8 1/2 EIGHT AND A HALF (1963)
Fellini's 8 1/2 - Dance scene
Eight and a Half (1963, 138 min) - directed by Federico Fellini
The conventional wisdom is that Federico Fellini went wrong when he abandoned realism for personal fantasy; that starting with " La Dolce Vita " , his work ran wild through jungles of Freudian, Christian, sexual and autobiographical images. The precise observation in " La Strada " was the high point of his career, according to this view, and then he abandoned his neorealist roots. Then all is downhill, in a career that lasted until , except for " Amarcord " , with its memories of Fellini's childhood; that one is so charming that you have to cave in and enjoy it, regardless of theory. This conventional view is completely wrong. The earlier films, wonderful as they often are, have their Felliniesque charm weighted down by leftover obligations to neorealism. The critic Alan Stone, writing in the Boston Review, deplores Fellini's "stylistic tendency to emphasize images over ideas. A filmmaker who prefers ideas to images will never advance above the second rank because he is fighting the nature of his art.
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. The storyline itself is exceptionally basic. A famous director is setting up another film, yet winds up in torment from imaginative square: he is fixated by, loves, and feels unending dissatisfaction with both craftsmanship and ladies, and his consideration and desire flies in such a large number of various bearings that he is all of a sudden unequipped for concentrating on one plausibility for fear that he discredits all others. With the deadlines approaching the actors and the crew, the team dive him requesting data about the film- — data that the director does not have on the grounds that he gets himself unequipped for settling on an artistic decision. What makes the film intriguing is the path in which Fellini at last changes the film in general into a discourse on the way of innovativeness, craftsmanship, emotional meltdown, and the skirmish of the genders.