8½

Words of the day: That awkward moment when words cease to work and the director is forced from his position to express the film in words. The overwhelming, the unfocused, the immature or overripe, and the constant reeling in the daily surreal chaos that swirls around him in preparation for the next blockbuster from a known genius. And so, while Guido tries to return to the cradle and quietly absolve himself of responsibility for anything, a gigantic structure for his latest film looms on the wide plain, one he doesn't for the life of him know what he's going to do with, and which somehow characterizes himself – oversized, pointless, and disposable. Intellectual porn from Fellini that created a milestone for renowned aging directors in coming to terms with themselves (and would have been a brilliant double-feature with Menzel's The Don Juans!). Personally, it's a testament to the splendor of 8 1/2 that, as much as I loathe the Italian female temperament and found my toes curling at most of the female characters (apart from the always beautiful and dangerous Anouk Aimée), I drank it all in and enjoyed almost every incredibly composed shot. (06/14/2016)

This just isn't the movie for me. Federico Fellini certainly directed something interesting, with great performances and truly stunning women, who are also capable actresses. There are interesting ideas, but overall, the film didn't impress me greatly, and I didn't fundamentally enjoy it. And I didn't even want to think about it. (04/27/2015)

The sheer joy of storytelling translated into the most creative depiction of a creative crisis, where time and space are hypothetical and the seemingly random order of scenes evokes the loss of the artistic and romantic soul in a sterile hierarchical environment. It could use a bit of editing (Fellini varies identical ideas too often in different situations, and in the last act he's kind of shooting in the dark), but the brilliantly composed music, the beautiful actresses, the energetically pulsating pace, and the wonderful work with off-screen space and camera movement around the mise-en-scène make it impossible to take your eyes off it. Fellini at his coolest. (10/30/2017)

Federico Fellini's 8 1/2 is a truly convoluted affair, in which dynamic scenes both build up and are killed by tedious ones. For the entire first half I was thinking I couldn't see this going for more than 3*, but then (as with many other films) the second half worked and was truly excellent, so I have to give it a boost. I loved the childhood memories, which only highlighted the present day scenes. I was so looking forward to the beautiful Claudia Cardinale and it's a shame she was given so little space. In short, a film that I really couldn't get enough of for much of its running time. (03/13/2011)

Fellini's alter ego is bitterly reflected in the film: "I had the impression that I had something to say. Something very simple. I wanted to make a film that would be useful to everyone." The trouble is that at the end of the screening, the viewer may come up with another line that will also be heard: "I have nothing to say at all, but I'll say it anyway." With the passage of years, it is clear that a significant part of Fellini's work was actually about himself, his life, his ideas, and his problems. Fascination with himself is clearly felt in every shot of 8½. Fellini was going through a creative crisis at the time, groping helplessly over how to make the material he intended to shoot. So, he took a step aside, and out of necessity, a film about a director was born, who - well, you can guess. Writing and shooting about oneself is easy. You have first-hand information, and you don't have to compromise or argue with the screenwriter. Fellini does look at himself with irony, but also no longer with distance. The film is about a creator who is admired, an artist who is the center of attention, and this aphrodisiac of fame is something he is already used to and enjoys. The famous Italian director has never been fond of editing, and it must be recognized that only a madman could edit himself. The result was exhausting for me, and soon, the pantheon of characters around the genius began to annoy me and despite my best efforts, I couldn't finish 8½ in one go - it took me two evenings. There was no catharsis at the end, but rather a feeling of relief that I finally got through it. Sadly, I can't give Fellini more than two stars. Besides – he had more than enough fun with himself. Overall impression: 40%. (11/11/2014)