8½ ( ) is a 1963 Italian avant-garde comedy-drama film directed and co-written by Federico Fellini. The metafictional narrative centers on famous Italian film director Guido Anselmi (Marcello Mastroianni) who suffers from writer's block as he attempts to direct an epic science fiction film. Claudia Cardinale, Anouk Aimée, Sandra Milo, Rossella Falk, Barbara Steele, and Eddra Gale portray the various women in Guido's life. An international co-production between France and Italy, the film was shot in black and white by cinematographer Gianni Di Venanzo and features a score by Nino Rota, with costume and set designs by Piero Gherardi.
8½ was critically acclaimed and won the Academy Award for Best Foreign Language Film and Best Costume Design (black-and-white). It is acknowledged as an avant-garde filmAlberto Arbasino (1963), review of 8½ in Il Giorno, 6 March 1963 and a highly influential classic. It was ranked 10th on the British Film Institute's The Sight & Sound Greatest Films of All Time 2012 critics' poll and 4th by directors. It is included in the Vatican's compilation of 45 important films made before 1995, the 100th anniversary of cinema. The film ranked 7th in BBC's 2018 list of The 100 Greatest Foreign Language Films voted by 209 film critics from 43 countries around the world.
It was included on the Italian Ministry of Cultural Heritage's 100 Italian films to be saved, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978". It is considered to be one of the greatest and most influential films of all time.
Plot Guido Anselmi, a famous Italian film director, is suffering from "director's block". Stalled on his new science fiction film that includes thinly veiled autobiographical references, he has lost interest amidst artistic and marital difficulties.
While attempting to recover from his anxieties at a luxurious spa, Guido hires a well-known critic to review his ideas for his film, but the critic blasts them. The film portrays Guido ambiguously floating in and out of surrealistic dreams and flashbacks to his childhood. Guido has recurring visions of an Ideal Woman, whom he sees as key to his story. His mistress Carla comes to visit him, but Guido puts her in a separate hotel. The film production crew relocates to Guido's hotel in an unsuccessful attempt to get him to work on the film.
Guido admits to a cardinal that he is not happy, but the cardinal indicates that only religion can lead to salvation. Guido invites his estranged wife Luisa and her friends to join him. They dance, but Guido abandons her for his production crew. Guido confesses to his wife's best friend Rosella that he wanted to make a film that was pure and honest, but he is struggling with something honest to say.
Carla surprises Guido, Luisa, and Rosella outside the hotel, and Guido claims that he and Carla ended their affair years earlier. Luisa and Rosella call him on the lie, and Guido slips into a fantasy world where he lords over a harem of women from his life, but a rejected showgirl starts a rebellion. The fantasy women attack Guido with harsh truths about him and his sex life.
When Luisa sees how bitterly Guido represents her in the film, she declares that their marriage is over. Guido's Ideal Woman arrives in the form of an actress named Claudia. Guido explains that his film is about a burned-out man who finds salvation in this Ideal Woman.
Claudia concludes that the protagonist is unsympathetic because he is incapable of love. Broken, Guido calls off the film, but the producer and the film's staff announce a press conference at which the filming will commence. Guido attempts to escape from the journalists and eventually imagines shooting himself in the head.
Guido realizes he was attempting to solve his personal confusion by creating a film to help others, when instead he needs to accept his life for what it is. He asks Luisa for her assistance in doing so. Carla tells him that she figured out what he was trying to say: that Guido cannot do without the people in his life.
A circus procession plays music as the production crew and cast begin to troop onto the set; Guido's passion revives and he begins to direct. The men and women of the cast and crew start holding hands and walk briskly around in a circle with Guido and Luisa joining them last. The production set is dismantled, Guido salutes the last of the crew members, and the set fades to black.
Cast
Themes 8½ is about the struggles involved in the creative process, both technical and personal, and the problems artists face when expected to deliver something personal and profound with intense public scrutiny, on a constricted schedule, while simultaneously having to deal with their own personal relationships. It is, in a larger sense, about the search for meaning within a difficult, fragmented life. Like several Italian films of the period (most evident in the films of Fellini's contemporary, Michelangelo Antonioni), 8½ also is about the alienating effects of modernization. Also included are themes of carnal fantasies as in the harem sequence.
At this point, Fellini had directed six feature films: Lo sceicco bianco (1952), I Vitelloni (1953), La Strada (1954), Il bidone (1955), Le notti di Cabiria (1957), and La Dolce Vita (1960). He had co-directed Luci del varietà (Variety Lights) (1950) with Alberto Lattuada, and had directed two short segments, Un'Agenzia Matrimoniale (A Marriage Agency) in the omnibus film L'amore in città (Love in the City) (1953) and Le Tentazioni del Dottor Antonio from the omnibus film Boccaccio '70 (1962). The title is in keeping with Fellini's self-reflexive theme: by his count it was his eight-and-a-halfth film.Bondanella, The Cinema of Federico Fellini, 175 The working title for 8½ was La bella confusione (The Beautiful Confusion) proposed by co-screenwriter, Ennio Flaiano, but Fellini then "had the simpler idea (which proved entirely wrong) to call it Comedy".Quoted in Kezich, 234
According to Italian writer Alberto Arbasino, 8½ used techniques similar to, and has parallels with, Robert Musil's novel The Man Without Qualities (1930).Gabriele Pedullà, Alberto Arbasino "Interviste –Sull'albero di ciliegie" ("On the Cherry Tree") in CONTEMPORANEA Rivista di studi sulla letteratura e sulla comunicazione, Volume 1, 2003. Q: In some of your texts written during the 60I'm thinking above all of Certi romanzicritical reflections on questions of the novel [...] are always interlaced in both an implicit and explicit way with reflections on cinema. In particular, it seems to me that your affinity with Fellini is especially significant: for example, your review of Otto e mezzo in Il Giorno. A: Reading Musil, we discovered parallels and similar procedures. But without being able to establish, either then or today, how much there was of Flaiano and how much, on the other hand, was of [Fellini's] own intuition.
8½ is a film about making a film, and the film that is being made is the film that the audience is viewing. An example is the dream sequence of "Guido's Harem" where Guido is bathed and carried in white linen by all the women from the film, only to have the women protest for being sent to live upstairs in the house when they turn 30, and "Jacquilene Bonbon" does her last dance. The Guido's Harem scene is immediately followed by the "Screen Test" depicting the same actors in a theater, each taking the stage for a screen test, being chosen to act for the very scene the audience just watched. This mirror of mirrors is further emphasized at the end where the director Guido sits at the table of the press conference, where the entire table is a mirror reflecting the director in it.
Production
In an October 1960 letter to his colleague Brunello Rondi, Fellini first outlined his film ideas about a man suffering from a creative block: "Well then—a guy (a writer? any kind of professional man? a theatrical producer?) has to interrupt the usual rhythm of his life for two weeks because of a not-too-serious disease. It's a warning bell: something is blocking up his system."Affron, 227 Unclear about the script, its title, and his protagonist's profession, he scouted locations throughout Italy "looking for the film"Alpert, 159 in the hope of resolving his confusion. Flaiano suggested La bella confusione (literally The Beautiful Confusion) as the film's title. Under pressure from his producers, Fellini finally settled on 8½, a self-referential title referring principally (but not exclusively)Kezich, 234 and Affron, 3-4 to the number of films he had directed up to that time.
Giving the order to start production in spring 1962, Fellini signed deals with his producer Rizzoli, fixed dates, had sets constructed, cast Mastroianni, Anouk Aimée, and Sandra Milo in lead roles, and did screen tests at the Scalera Studios in Rome. He hired cinematographer Gianni Di Venanzo, among key personnel. But apart from naming his hero Guido Anselmi, he still could not decide what his character did for a living.Alpert, 160 The crisis came to a head in April when, sitting in his Cinecittà office, he began a letter to Rizzoli confessing he had "lost his film" and had to abandon the project. Interrupted by the chief machinist requesting he celebrate the launch of 8½, Fellini put aside the letter and went on the set. Raising a toast to the crew, he "felt overwhelmed by shame... I was in a no exit situation. I was a director who wanted to make a film he no longer remembers. And lo and behold, at that very moment everything fell into place. I got straight to the heart of the film. I would narrate everything that had been happening to me. I would make a film telling the story of a director who no longer knows what film he wanted to make".Fellini, Comments on Film, 161-62
When shooting began on 9 May 1962, Eugene Walter recalled Fellini taking "a little piece of brown paper tape" and sticking it near the viewfinder of the camera. Written on it was Ricordati che è un film comico ("Remember that this is a comic film").Eugene Walter, "Dinner with Fellini", The Transatlantic Review, Autumn 1964. Quoted in Affron, 267 Perplexed by the seemingly chaotic, incessant improvisation on the set, Deena Boyer, the director's American press officer at the time, asked for a rationale. Fellini told her that he hoped to convey the three levels "on which our minds live: the past, the present, and the conditional - the realm of fantasy".Alpert, 170
8½ was filmed in the spherical cinematographic process, using 35-millimeter movie film, and exhibited with an aspect ratio of 1.85:1. As with most Italian films of this period, the sound was entirely dubbed in afterwards; following a technique dear to Fellini, many lines of the dialogue were written only during post production, while the actors on the set mouthed random lines. 8½ marks the first time that actress Claudia Cardinale was allowed to dub her own dialogue; previously her voice was thought to be too throaty and, coupled with her Tunisian accent, was considered undesirable.8½, Criterion Collection DVD, featured commentary track. This is Fellini's last black-and-white film.