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© DR - Federico Fellini / HUIT ET DEMI p20
08/12/2012 18:25
Claudia Cardinale
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Impossible to discuss here
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Swirling, kaleidoscopic rumination from Fellini. The other user comments here (as well as many professional reviews) show how difficult it is to discuss this film briefly, so I don't think I'm going to try. I would only say that, like other films that push at the boundaries of cinematic greatness--`Citizen Kane,' `Nashville,' and `Brazil' are three others that come to mind--it isn't really possible to place `8 ½' in any simple category. It is a comedy and a tragedy, a satire and a celebration, a movie about love and about the lack of it, a movie about making art and a movie about living, an autobiography and the most challenging kind of fiction, a masterpiece of style and a movie that's really about something. It's not for everyone, but it should be, and it's quite possibly the single greatest movie I have ever seen. 11 out of 10.
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© DR - Federico Fellini / HUIT ET DEMI p21
08/12/2012 18:34
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© DR - Federico Fellini / HUIT ET DEMI p22
08/12/2012 18:39
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© DR - Federico Fellini / HUIT ET DEMI p23
08/12/2012 18:43
Fascinating
Author: kyle_c from Midwest
20 July 2002
*
I certainly wouldn't be saying anything new if I said that "8 1/2" is one of the most unique, fascinating, and personal pieces ever committed to film. It has consistently hailed as such, and its influence on film is far reaching and undeniable. It is certainly not one of the most entertaining movies of all time, and is actually quite long and difficult. But it is an incredible piece of filmmaking, and a gripping look at the difficulties of creating not just a movie, but art in general.
Guido (Marcello Mastroianni) is a popular movie director who is working on his new film. Along the way, he struggles with his screenwriter, producer, wife, and mistress. Each presents a different problem and obstacle. More and more difficulties arise, not just in his attempts to complete the movie, but in his own mind.Guido, although flawed, is completely fleshed out, and draws sympathy from the audience. Yes, he is an adulterer, but he loves his wife. We see all of his personal desires and agony. We see how he suffers when he struggles with his desire to create the ultimate piece of art, one that offers something to everybody.
The movie is technically wonderful. The movement of the camera, the lighting, and the direction in general is top notch. The movie mixes in dreams with reality to create a dreamlike world, and put us closer into Guido's own mind.Somebody who is looking for a movie as a two hour piece of entertainment will not enjoy this. But if you enjoy a movie that truly satisfies when it is finished, this is for you. It is quite long, and somewhat loose, but that is part of the interest. Moviemakers, or artists in general, will find that this film has a great deal to offer.
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© DR - Federico Fellini / HUIT ET DEMI p24
08/12/2012 18:49
Distinctions
-Oscar du cinéma 1964 : meilleur film en langue étrangère, meilleurs costumes dans un film en noir et blanc
-Bodil 1964 : meilleur film européen
-Kinema Junpo Award 1966 : meilleur film en langue étrangère et meilleur réalisateur de film en langue étrangère
-National Board of Review : Meilleur film étranger
-Rubans d'argent 1963 : meilleur réalisateur, meilleur producteur, meilleur sujet, meilleure scénario, meilleure photographie, meilleure musique, meilleure actrice dans un second rôle (Sandra Milo).
-NYFCC Award 1963 : meilleur film étranger
-Festival international du film de Moscou 1963 : Grand prix
Autour du film
-Le titre pour le moins atypique de ce film vient de ce que Fellini a jusqu'alors réalisé sept longs métrages (Les Feux du music-hall, Le Cheik blanc, Les Vitelloni, La Strada, Il Bidone, La Dolce Vita et Les Nuits de Cabiria) et deux sketches considérés comme des quarts de film (Une agence matrimoniale du film L'Amour à la ville et Les Tentations du docteur Antonio du film Boccace 70).
-Durant son tournage, le film s'appelait La Bella Confusione (Le Beau Désordre).
-Fidèle à son compositeur de musique depuis Le Cheik blanc en 1952, Fellini confie à nouveau la musique de ce film à Nino Rota qui signe une des partitions les plus mémorables.
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