8½ Reviews

Summary A harried movie director retreats into his memories and fantasies.

• Drama

Mastroianni gives what might be the greatest performance of his legendary career, making an ideal focus of attention for Fellini's cinematic pyrotechnics. [09 Apr 1999, p.14]

8 1/2 is probably the most potent movie about film-making, within which fantasy and reality are mixed without obfuscation, and there's a tough argument that belies Fellini's usual felicitous flaccidity.

One of the best movies ever made. It really captures the creative process of what goes on when making a movie and the struggle with making something original. Even though though it’s considered the best film about filmmaking, I think there can be something said about the human condition with Guido trying to make an honest movie that really captures his life that can help people. The ending is weird but beautiful when he realizes that he must accept his life how it is and embraces the people in his life.

It's spectacular. It was creative impulse, resulting in culture and art's main reference point.

It exerts an irresistible pull.

It's a deluxe glorification of creative crisis, visually arresting (the dark and light contrasts are extraordinary, magical) but in some essential way conventional-minded.

With 8 1/2, Fellini cast aside all vestiges of the naturalism that informed his early work. From here, he stepped off into the dazzling fantasyland of Juliet of the Spirits, Satyricon, and Roma, but for many, this remains the quintessential Federico.

It has no more plot than a horse race, no more order than a pinball machine, and it bounces around on several levels of consciousness, dreams and memories as it details a man's rather casual psychoanalysis of himself. But it sets up a labyrinthine ego for the daring and thoughtful to explore, and it harbors some elegant treasures of wit and satire along the way.

8½ works best as a self-deprecating comedy, a fact revealed most forcefully in the folly of film production on display.

Semplicemente il miglior film che abbia mai visto: onirico, allegorico ed estremamente profondo.

THE GOOD: Marcello Mastroianni delivers a titanic performance. Through unreal visuals, editing and score, Fellini blends dreams and reality creating numerous unforgettable scenes. THE BAD: Definitely not for everyone. The constant sense of overwhelness may distance the viewer from the story.

extremely boring movie with a surrealistic atmosphere and weird characters. I couldnt find any humour also. After 30 minutes I couldnt bear it anymore and watched something different.

Academy Awards, USA

• 2 Wins & 5 Nominations

Italian National Syndicate of Film Journalists

• 7 Wins & 10 Nominations

National Board of Review, USA

• 2 Wins & 2 Nominations