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Fascinating, but a film more to respect than love, Mai 31 2004
For what it is---an intensely personal statement about Fellini's own frustrations at a film director at a certain point in his life, as reflected by the frustrations of his film director alter ego Guido Anselmi---Federico Fellini's 8 1/2 is indeed brilliant and creative. It is certainly not like any other film you've ever seen, and it deserves to be seen by any serious cinema enthusiast at least once or twice, since it is such an influential film.That being said, I have to admit that, after having seen it twice, I personally still can only express a cold admiration for Fellini's achievements here. I just can never really get myself personally involved in Fellini's world here to the point that I truly care about Guido and his predicament. Fellini hardly bothers to build up any sympathy for Guido or any of the characters (although I personally did feel some sympathy for Guido's wife Luisa, who is convincingly portrayed by Anouk Aimee as a woman who has had enough of his husband director's cheating ways). The film is on such a personal level that Fellini shuts the audience out and makes us view his universe from afar without truly enveloping us in it, and while what he does in that universe is undeniably brilliant, it means precious little to us in the end. I am almost tempted to echo some of the sentiments of critics (like Pauline Kael) who were less than enthusiastic when the film was first released in America---those who dismissed the film as "self-indulgent trivia." I expected a film about filmmaking, and what I saw instead was the story of a director going on and on and on about his own suffering, and frankly sometimes I just didn't truly care. But then, of course, maybe Fellini never intended to fully engage the audience in this film. Or maybe I just have to watch more Fellini films in order to perhaps get onto his wavelength (so far, 8 1/2 is the only film of Fellini's I have seen). Despite my personal misgivings, 8 1/2 does have some justly famous sequences and images(the harem sequence being the standout), and is interesting enough to warrant a look by any serious film enthusiast. Who knows? Great art sometimes doesn't reveal its depths the first time, and maybe this film will eventually reveal something more in subsequent viewings (although in the back of my mind I have my doubts).
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The Extras Outpace the Movie!, Janv. 12 2003
This is my first experience with Fellini. In my college days, I often heard the expression, "You don't have to be Fellini to figure that one out," and am only now coming to realize what that meant. Fellini is fearless in exploring the most difficult questions, like one's sexual honesty, the ability of anyone to "tell the whole truth" to the public when one is less than honest with onesself, and what level of certainty one must have in order to instruct others. If these questions seem a bit obtuse -- they are. Yet, I defy anyone to show these most primal of subjects addressed in American films. At least Fellini addresses them with a sense of humor, without losing his emotional or physical passion, and with images that will stay with you for many days after viewing this film.The clarity of picture and sound are impressive. It is a rather "honest" portrayal of a movie director with the cinematic equivalent of writer's block. On first viewing, I must confess that I missed some of the Italian cultural references, of which I was informed by watching the movie with the running commentary (top notch). But here is the real rub on this one -- this movie is worth owning for the extras. These are contained on a separate disk, and merit watching over and over and over again. The interview with Sandra Milo (Fellini's mistress of some 17 years) is worth the price of the DVD set alone. The hour-long documentary made by Fellini himself contains clips of movies that never made it into production and, for me, represent the ultimate in entertainment value. So, even if the subject matter of 8 1/2 does not sound like your cup of Chianti, buy it for the extras alone. You will want it if you enjoy any of Fellini's other films.
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Guido! Why no english ?, Fév 27 2002
Regarding "8 1/2" itself, I agree with everything positive that people have already written. But--even with all the extras on it--I only rate the DVD 4 stars because it does not contain the rarely shown but very excellent english language dub. At the least, it provides one more experience of a film that, for me, has stayed pretty fresh since I first stumbled across it back in-when else?-1988. I know that a lot of(most?)dubs are pretty awful (english track on "Crouching Tiger" DVD)--but in the case of "8 1/2" it was done just right--down to the way it syncs with the actors' mouths. The voices are cartoonish compared to the italian, yet perfectly in sync with the characters on screen--Daumier sounds "more like" Daumier in english than italian. And I was actually kinda disappointed when I first heard Marcello's own voice, rather than the burlier english Guido. I appreciate the beautiful new print and the extra stuff, but I consider omitting the english track ridiculous. I'd buy another DVD if Criterion re-issued it with the english track available. Not to insult anyone, but if it's a question of DVD "bandwidth," I'd take the english dub instead of the audio commentary. Sometimes the subtitles obscure things, like Guido's twitching foot when Daumier is excorciating their proposed collaboration. Yes, I've seen the subtitled version many times, but, at least with this particular movie, there is something crucial lost in the necessity of reading subtitles while at the same time trying to take in Fellini's images. It flows perfectly if you don't have that slight disconnect.
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wonderful transfer, but inaccurate details., Déc 8 2001
I will let others speak to the artistic merits of the film and I will only say that I have had the pleasure to enjoy it a few times in the theater over the years. This is a dvd I have looked forward to for some time and the quality of the Criterion transfer is outstanding, although I did get a little digital weirdness from time to time. For example, when the film director goes airborne in the beginning, his coat would fracture a bit in motion--very minor and not really distracting. But here's the rub--I'm getting so tired of inaccurate info on these discs--the cover states the film is presented in 1.85:1 aspect ratio--one look at my tv and it was obviously not 1.85--I got out a ruler and measured--result was 1.60:1. Now that's close to 1.66:1, which is European widescreen and likely the proper aspect ratio--with the delays in the release of the disc, why can't they get these details right. I have a region 2 copy of this disc from the u.k.--a basic edition-- and I popped it in to compare with the Criterion disc. It was widescreen as well--and it measured about 1.90:1--which is pretty close to the 1.85 Criterion claimed--I believe you see more of the frame at the top and bottom in 1.66 anyway if you're worried that image was cropped. It seems so strange that the American disc is presented in the European 1.66 and the U.K. disc is in the American 1.85 ratio. The region 2 u.k. disc was also a little less contrasty and so you could see detail a bit better in the shadows, but the image itself was also a bit softer and didn't have the crispness of the Criterion. This is really a minor complaint in the end, but Criterion has a low number of new releases and I think it is reasonable to hold them to a high standard in both their transfers and their information.
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What a hat!, Déc 17 2000
This beautifully filmed story features an extremely charismatic performance by Marcello Mastroianni as Guido, an Italian director with a really cool hat and glasses combo but no idea about how to bring his next movie together. As the pressures of of the production bear in on him, he retreats first to a spa, and then into his fantasies, most of which involve women.The whole thing is a collection of amazing scenes. If only there weren't so many actresses and mistresses and wives, they all run together -- especially when it seems that most of the scenes are filmed with improvised dialogue. The video release contains white-on-white subtitling, so that just makes things even more confusing.
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