From that area of film making where people were trying to invent crazy new techniques and instead of asking why they would do it they just did it for the sake of doing it. So many pointless techniques that look neat-o but serve no purpose to the narrative and only seek to distract us from its shallow story. 8 1/2 is an artist circle jerk piece, not a film.
Like many great pieces of cinema (2001, Blade Runner, Brazil), I hated this on my first watch but adored it on subsequent viewings. This is one of the best movies ever made, and one of the greatest to come out of Italian cinema. Not a single second is wasted in my opinion, and the blend of fantasy and reality is executed perfectly. Asa Nisi Masa. "One of European cinema's most stellar figures," Cannes 2014.
74/100 (İkinci izleyişimde fark ettim ki gerçek hayat sahneleri de La dolce vita gibi kendini tekrar ediyor ve herkes firesiz hazcı. Ayrıca bir elitizme yönlenme var. O hayatın sıkıcı olduğunu söylese de o lüks yaşamı övüyor. Harem hayali de anlamca sakıncalı. Kadınları metalaştırıyor. Binlerce kişinin olduğu otelde Guido'nun otele set ekibini getirmesini ve intiharını ise hiç ama hiç gerçekçi bulmadım.)
Through an exuberant sense of style, mixed with what some would hail as a dexterous directorial talent, while others would refute it and claim absolute ignorance or lunacy, Fellini unfolds the surrealist curtain from the art of filmmaking in a way that no possible documentary or, dare I say, Charlie Kaufman has managed to do until this very day.
2½ stars. It looks great, it sounds great, Mastroianni is great, and Fellini moves his camera with virtuosity. But oh how indulgently it chuckles at entitled male self-regard while endorsing it to the hilt. The life-as-a-circus theme isn't given any depth, it's just a sentimental ploy to disguise egotistical special pleading. The gulf between the film's vaunted reputation and its actual achievement is massive.
Spectacular. Six years since the last time I watched it. Fresh, startling, funny and annoying. Should be remade by every nation, and every generation, trying to be faithful and not ironic. The failed and context-bound translations would be hilarious, inventive and fascinating in the same way as the original, without its originality. So, so Italian. So, so 1960s.
Another classic that it took me far too long to get around to, this Federico Fellini film is just a beautiful, almost perfect, mix of heightened reality and blurred dreams as a director (Marcello Mastroianni) retreats into his own memories and thoughts while being besieged by people around him who demand to know more about the latest film that he's working on.