Federico Fellini’s 8 ½ (1963)

In Federico Fellini’s 8 1/2 fantasy and emotional stratum coalesce in a visceral story centered on the egotism that motivated Fellini. This iconic film accounts Guido Anselmi’s (Marcello Mastroianni) attempt to make another hit film. Ultimately an autobiographical confession, based on Fellini’s own self-doubt and emotional state, 8 1/2 delves into the realms of narrative obfuscation and internalized moral skirmish through the self-righteous protagonist, Guido.

Federico Fellini’s last film shot in black and white, 8 1/2 exhibits radical changes from his previous neorealist films. This film centers on the theme of egotism and introspection, which is arguably what Fellini’s earlier films focus on also, but 8 1/2 tackles the subject differently. Instead of the focusing on a brooding search for acceptance of oneself and the absurdities of life Fellini tackles the subject of failure and the artistic process.

He diverges from his connection with Guido towards the end of the film. Plagued by procrastination and the malady of idleness, Guido retreats into himself, he becomes his primary focus. This self-involvement however is not constructive. Guido fails to complete the film he is working on, unlike Fellini. Fellini narrates the difficulty of the artistic process through Guido, describing the sensations that accompany.

Copious with surrealist and absurdist imagery Fellini draws the audience into a world similar and dissimilar to reality. Connected to the emotional response invoked by these scenes the audience fixates on ambiance of the film and less on empiricism. It enraptures the audience bringing them closer to the actualities of life that most commonplace cinema possesses.

It is the application of surrealism that makes this film so celebrated. Interweaving fantasy, memory, realism, and absurdism it is considered to be Fellini’s most influential film. By describing the difficulties of film making he created a masterpiece. This intimate exposure is what makes the film special. Not circumventing self-criticism or immorality Fellini admits to fault in a spritely way.

Lauded, this film has received two Academy Awards for Best Foreign Language Film and Best Costume Design was nominated for Best Director, Best Original Screenplay, and Best Art Direction. It has received praise from the New York Film Critics Circle, and received all seven prizes at the Italian Natioal Syndicate of Film Journalists.

Ella Coon
Film Club