Film Review: 8 1/2 (1963)

in #hive-1668472 days ago

(source: tmdb.org)

The phenomenon of a film director being so revered that each new release is automatically hailed as a masterpiece, regardless of its actual quality, is a curious one. In modern times, directors like David Lynch have benefited from this phenomenon, with their every move being scrutinised and praised by fans and critics alike. However, an earlier example of this can be seen in the career of Italian director Federico Fellini, who, at the height of his popularity, released the 1963 film 8 1/2, which is often regarded as the pinnacle of his career and one of the greatest films ever made. Despite its lofty reputation, it is interesting to examine whether 8 1/2 truly deserves the accolades it has received, or if it is a case of a film being praised simply because of its director's reputation.

8 1/2 is, without a doubt, the most autobiographical of all Fellini's films, made as it was after his triumph with La Dolce Vita. The title itself refers to the number of feature films Fellini had previously directed - six features and three separate segments in anthology films, which, together with 8 1/2, makes eight and a half. This nod to his own career is a clear indication that the film is deeply personal, and that Fellini is drawing heavily from his own experiences.

The protagonist, Guido Anselmi, played by Marcello Mastroianni, is a famous film director based on Fellini himself, struggling with a seemingly insurmountable case of director's block. Like Fellini before he started making the film, Guido is faced with the daunting task of creating something new and meaningful, but seems more interested in making a film based on his own private life, with a specific emphasis on his relationships with various women.

These women, including his long-suffering wife Luisa, played by Anouk Aimée, his mistress Carla, played by Sandra Milo, and Claudia, played by Claudia Cardinale, who represents his ideal woman, are all facets of Guido's complicated personality. As he tries to envision his perfect film, the present begins to merge with his remembrance of the past, notably his childhood, when he, as a pupil, was fascinated with the prostitute Saraghina, played by Eddra Gale. His present also merges with fantasies, including those that feature a "harem" of women, including a mysterious woman he met in a hotel, his wife's best friend Rosella (played by Rosella Falk), and Gloria Morin (played by Barbara Steele), the young girlfriend of his old friend Mario Mezzabotta (played by Mario Pisu).

In strictly technical terms, 8 1/2 is a good film. Fellini directs it with his usual flair, making the best use of production and costume design to create many memorable scenes, particularly those taking place in the spa where Guido tries to rediscover his creativity. The great work by cinematographer Gianni Di Venanzo is well-matched by Fellini's favourite composer, Nino Rota, who delivers another memorable score. The cast is also very good, noted for its diversity, with Mastroianni delivering another great performance as the confused and frustrated protagonist. He is flanked by some of his castmates from La Dolce Vita, including Anouk Aimée and Annibale Ninchi, who, like in the previous film, plays the father of the protagonist. Claudia Cardinale, at the time the most glamorous and popular European actress, shines in a relatively brief but memorable role as the ideal woman, while Barbara Steele, the British actress known as the "scream queen" of 1960s and 1970s cinema, delivers one of her most "serious" roles.

However, despite all the talent and creativity that reflects itself on screen, there is something inherently missing in 8 1/2 - a cohesive plot and theme. Fellini, like his protagonist, seemed to have no clear idea of what he wanted to do, and simply threw a bunch of impressive images and sounds together to see what would stick. This lack of conventionality, while praised by some as innovative and avant-garde, can be alienating for viewers who are not familiar with Fellini's style. The film is often confusing, looks self-indulgent, and represents many of the things that gave "art film" a bad name. In an era where audiences are accustomed to more straightforward storytelling, 8 1/2 may struggle to find an audience, and its reputation as a masterpiece may not be entirely deserved.

In the 1960s, however, critics and a more snobbish audience loved this approach to cinema, and 8 1/2 was greeted as unconventional and avant-garde, destined to make a success at the box office and win prestigious awards, such as the Oscar for Best Foreign Language Film and the Oscar for Best Costume Design. With many great directors expressing their praise for Fellini, his work was guaranteed to enter film history books as a masterpiece, further cemented by its high ranking in prestigious polls, such as the Sight & Sound poll of the best films ever made. The legend of 8 1/2 was further cemented by the 1982 Tony-awarded Broadway musical Nine, based on the film, which was itself adapted into a film in 2009, although this failed to repeat the success of Fellini's original.

While 8 1/2 is, without a doubt, a good film, its unconventionality and incoherence may be too off-putting for most of today's audience, and, as such, it may not live up to its lofty reputation, unless one is already a die-hard Fellini fan. The film's reputation as a masterpiece is, in part, due to its historical context and the reverence with which Fellini is regarded, rather than any inherent quality of the film itself. As such, it is interesting to re-examine 8 1/2 and consider whether it truly deserves its place among the greatest films of all time, or if it is a product of its time, praised more for its director's reputation than its actual merits. Ultimately, 8 1/2 remains a fascinating and complex film, full of memorable images and performances, but its lack of cohesion and self-indulgent style may make it a challenging watch for modern audiences.

RATING: 6/10 (++)

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