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

Vittorio De Sica’s Bicycle Thieves (1948)

Bicycle Thieves (Ladri di Biciclette), directed by Vittorio De Sica, takes place in Italy after the second world war where it is really hard to make a good living. The movie is about a man named Antonio in trouble financially who finds a job putting up posters around the city, but in order to do this he must have a bike, and in order to get a bike he will have to sell his few possessions. On his first day on the job his brand new bike gets stolen. And the rest of the film is about how, because the police do not help him, this man and his son try to bring justice and find the bicycle thief themselves. Now Antonio is on a desperate quest to find a bike so he can keep his family from starving.

The film is famous for having used individuals with no experience in the acting industry for the job. In fact the leading role (Lamberto Maggiorani as Antonio) is played by a factory worker. These factors – a story about poor, working class people, using untrained actors, and shooting on location rather than a set, along with frequent used of deep-focus photography, long shots, and lengthy takes – define a film movement known as neo-realism. De Sica is one of the most famous of the Italian neo-realist directors. Roberto Rossellini is another.

Many critics have considered Bicycle Thieves to be one of the best neorealist films ever made. Upon its release it received numerous awards including an honorary Academy Award for the most outstanding foreign language film released in the United States during 1949. (The Academy did not begin giving out an award for “best foreign language film” until 1956. Prior to that, they gave only special or honorary awards.)

But the film is not important because it is neo-realist; it’s important because it tells, beautifully, a story in a way that marked a change in film-making style. As you watch De Sica’s film, consider what movies you may have seen that approach film-making the same way he does. Many people, for example, have seen similarities between Bicycle Thieves and Roberto Benigni’s Life is Beautiful (1997), and others have pointed to the neo-realist influence on American films of the 1970s. More recent films have nodded to De Sica as homage: Tim Burton’s Pee Wee’s Big Adventure, for example, follows the pre-pubescent Pee Wee Herman as he tries to retrieve his stolen bicycle.

Beyond acknowledging the influence Bicycle Thieves has had on films that followed, we encourage you to think about how it stands on its own. In 2005, the British Film Institute created a list of the “50 films you should see by the age of 14.” Bicycle Thieves is in the top 10, along with films like The Wizard of Oz, The 400 Blows, Spirited Away, and Toy Story. Why? What makes this movie one that everyone should see before they get out of high school? And there you have it: something to discuss over a soda at a local restaurant after the movie. Just make sure you locked up your bike. You wouldn’t want it to get stolen.

Nick Volpi and R. Findlay
Film Club