As an aspiring film buff I feel as if I am expected to appreciate Fellini’s original 8 1/2 for its Italian style and dense artistic philosophy. And I feel as if I should look down on this as many critics have because perhaps there is some dumbing down from this Hollywood version. Whereas the major changes in the story as well as the change of the title and therefore the happier ending are correctly attributed to the dream machine known as Broadway. However, in the end I felt I got a little closer to the characters, I enjoyed the musical numbers, and I appreciated that this version came in under two hours!

Guido has two major female influences from his childhood that continue to shape him as an adult. He loves his mother (Loren) and misses her taking care of him. As he was developing in puberty he got a thrill from a prostitute living on a beach, Saraghina (Fergie), who would give a strip tease for the boys of the village. There is also a major element of Catholic guilt carried over from 8 1/2, though to a lesser extent. Loren sings a brief song showing the angelic nature of Guido’s mother. Fergie sings a dirty, sand throwing, animalistic song to show the devilish nature of sexuality. Kidman channels Anita Ekberg and almost recreates the fountain scene with Marcello in La Dolce Vita. She plays the actress muse Claudia, and is kind of a cross between the sexual temptress and nurturing mother. Kidman sings with a warm mellow voice. Hudson fills another sexual temptress role in Guido’s adult life. She is a fashion magazine writer who sings a catchy song about the style of Italian cinema. You can definitely see Hudson’s mom Hawn in her. Dench is a costumer and substitute mother who brings to mind Marlene Dietrich when she sings. Penelope Cruz is sexy as Guido’s mistress and primary sexual temptress. She dances and sings with everything she’s got. Marion Cotillard does look a bit like Fellini’s real wife Giulietta Masina at times. She sings very well and brings a lot of heart to Guido’s wife, who is another substitute mother in a way. Amidst all these women in Guido’s life people keep commenting on how his last few films were flops, but they love his good movies. Guido may have some pathological control issues, which have served him well as a director in the movie business, or so he thinks. He is afraid he is out of ideas for a movie script, and nagging guilt over the triangle between his mistress and his wife keeps distracting him from his job.