Was about to post something similar - took a second viewing for me to really appreciate this film. I found it overwhelming and at times confounding the first time through.
It's amazing how Fellini creates these huge dreamscapes in the mind of Guido Anselmi and cuts between Guido's fantasies and his reality. It's mind-blowingly beautiful.
Meraviglioso.Otto e mezzo è un circo, libero dagli schemi narrativi tradizionali, le cui parti scivolano una nell'altra con una fluidità straordinaria,non stecca mai,tanto la sua partitura è complessa quanto il suo ritmo è perfetto.Fotografia sublime,carrellate che diventano estasi visiva, colonna sonora perfetta,con in più un Mastroianni monumentale.Fellini esalta tutto ciò e lo rende storia del cinema.5*
A love letter to film making. It's Freudian at it's essence. On the surface it's confusing but at some deeper level it makes complete and utter sense. Some of the scenes are unlike anything made before,at the time or since it's creation. The things which alienate many in the audience are of course what makes it unique.
The plot perplexed me beyond belief, but fortunately I was able to appreciate the beautiful craftsmanship that it is, art.
If you're feeling jaded and that movies are just a lot of populist, commercial time wasters, watch this and remember that movies can be a pure and beautiful art form all their own. This is film making at its very best. A perfect film. It could be nothing else.
From the beginning it's aloof and stylistic. It starts in the middle of the action, making it a bit confusing, but it's enjoyable. The best scenes where the memories and fantasies. The Asa nisi masa scene was so sweet and nostalgic that I can relate. The cinematography is amazing, and has the best use of black and white in a B&W film. It's a technical masterpiece, even if I thought it was too long at times.
This movie is about the pressures of film making, but believe me, it can relate to any art form that has a lot of people and money involved: photography, painting, writing, etc.. where you have a product to finish and live up to, hands to shake, questions to answer, phone calls to make, deadlines to meet, people to report to, relationships and friendships to maintain, all the while trying to create something true.
“Enough of symbolism and these escapist themes of purity and innocence". A masterpiece.
I've just finished the film for the first time and am still a bit confused. Regardless, it was beautifully shot and the message was a highly comforting one amidst the highly depressing art cinema that is being made today. Definitely plan on watching it a second time and even contemplating buying a copy. It's just one of those films you want to own.
Essentially, I see this as a companion piece to La Dolce Vita. Both are about a man (played by Marcello Mastroianni) who has all the love in the world but is incapable of giving it back. But while La Dolce Vita serves as social commentary, 8 1/2 is about the search for artistic fulfillment. Though I enjoyed it, I'll still take Fellini's epic vision of nighttime Rome over his surreal film-about-a-film any day.
The epic chronicles of the inner life of the world's most lovable scumbag. You don't normally hear (or say) this about thematically dense art-house cinema, but this movie is just *fun.* Best mid-life crisis ever. Although I think I need to watch it again so I can absorb it subtextually. Lord knows I was already tired and beat when I first watched it.
Is an example of how movie should work the subconscious of human beings, their frustrations and adversities. The pace of the film is brilliant as well as lighting that is working so oddly well by Gianni Di Venanzo. The way Fellini moves the camera through the voices of people who are constantly bugging and yelling with opinions and recommendations is a unique piece of true film making.
Must-watch-at-least-two-times kind of movie. I've mostly enjoyed how Fellini played with shadows and the manner in which he had emphasized emotions and his/hers/character's state of mind.
The most enduring by far of Fellini's films, because it turns his usually frivolous "la vita e bella" view of the world into an inward questioning of the deeper responsibilities of a film director. Films like this only really work when the insecurities of an artist are laid out in almost absurd candour, and Fellini's own outpuring of neuroses still make Otto e Mezzo seem vital.