8½ is deservedly considered to be one of film's greatest masterpieces. It is such a perfectly- crafted film. The writing is divine, balancing the despair and confusion of trying to understand oneself with glimpses of truly satisfying comedy. Each scene is well-balanced, providing both meaningful insight and a sense of being lost, as Guido tries to balance his past, present, and supposed future. Unlike the recent musical retelling, 8½ features characters with actual depth. Guido isn't just a senseless wanderer trying to make sense of his life, searching for justification for his lifestyle, or making a picture simply because the studio wants him to. He has a message he wants to send, and in the course of relaying that message, he hopes to find some peace of mind. Guido here is a much more compelling character, because he is trying to do something, not passively watching the film taking shape and shrugging his shoulders.
The women in the film also serve as more than objects used to define the director. Their relationships with Guido are more authentic, and it's clear how each one has influenced him. He's a man who loves women without really being able to love them, so instead of respectfully drawing inspiration from each woman, he instead tries to drain them of any compelling or exciting qualities. They aren't muses to be admired and translated; they're oranges to squeeze which will hopefully yield a meaningful juice.
The collision of fantasy and reality results in the film's dreamy feeling, supported by the stylistic system. Every shot is beautifully executed, whether it's capturing something odd, like a body floating high above the beach, or something more grounded in reality, such as a dinner. The consistency of Fellini's shot, editing, etc. results in a seamless integration of the real and unreal, often making scenes open to interpretation. It's thrilling film-making, to be sure, especially when the film delves completely into Guido's fantasy world, where all the women he has admired move in together to pamper him.
Ultimately, what makes 8½ an amazing film is the focus on honesty. Guido himself is a dishonest man, but the film allows the viewer to see him for who he really is, and how he tries to be better through his art. He can't bring himself to confront his wife, Luisa, about their troubled marriage, so instead he writes a scene of the conversation they need to have. Film provides an escape for the viewer, but it's fascinating to see it from the other side: as a way for a director to vicariously live alternate versions of his life. Within the film-to-be, Guido can expose himself fully without the risk of being judged. It's a confession that will not, in the end, be taken seriously. Except by Luisa and the other women who see themselves in the characters, of course.
It's Luisa's reaction to the screen tests that motivates Guido to try to be better. As a director, he has run out of things to say, because he has gotten to the point where his art and his real life collide. He has always lived in a world blurred between fantasy and reality, but now his art is too real to escape into. Guido comes to realize that he can't say anything more in his films until he says what must be said in his own relationships. Art is an expression, but it can never be as sincere as an actual act. The fact that seeing a man come to understand this truth is both moving and oddly cathartic. 8½ is a masterpiece in the truest sense of the word.
10/10
The women in the film also serve as more than objects used to define the director. Their relationships with Guido are more authentic, and it's clear how each one has influenced him. He's a man who loves women without really being able to love them, so instead of respectfully drawing inspiration from each woman, he instead tries to drain them of any compelling or exciting qualities. They aren't muses to be admired and translated; they're oranges to squeeze which will hopefully yield a meaningful juice.
The collision of fantasy and reality results in the film's dreamy feeling, supported by the stylistic system. Every shot is beautifully executed, whether it's capturing something odd, like a body floating high above the beach, or something more grounded in reality, such as a dinner. The consistency of Fellini's shot, editing, etc. results in a seamless integration of the real and unreal, often making scenes open to interpretation. It's thrilling film-making, to be sure, especially when the film delves completely into Guido's fantasy world, where all the women he has admired move in together to pamper him.
Ultimately, what makes 8½ an amazing film is the focus on honesty. Guido himself is a dishonest man, but the film allows the viewer to see him for who he really is, and how he tries to be better through his art. He can't bring himself to confront his wife, Luisa, about their troubled marriage, so instead he writes a scene of the conversation they need to have. Film provides an escape for the viewer, but it's fascinating to see it from the other side: as a way for a director to vicariously live alternate versions of his life. Within the film-to-be, Guido can expose himself fully without the risk of being judged. It's a confession that will not, in the end, be taken seriously. Except by Luisa and the other women who see themselves in the characters, of course.
It's Luisa's reaction to the screen tests that motivates Guido to try to be better. As a director, he has run out of things to say, because he has gotten to the point where his art and his real life collide. He has always lived in a world blurred between fantasy and reality, but now his art is too real to escape into. Guido comes to realize that he can't say anything more in his films until he says what must be said in his own relationships. Art is an expression, but it can never be as sincere as an actual act. The fact that seeing a man come to understand this truth is both moving and oddly cathartic. 8½ is a masterpiece in the truest sense of the word.
10/10