Until about a year ago, I'd never seen a Fellini movie. I always heard snobby film fans mention him. But I'd never watched a single one of his movies. Last year, while readying for this anno sabatico, I did watch La Dolce Vita. To be honest, I didn't love it. It was clearly an impressive work. But I didn't enjoy it much.
Still, my Italian cultural education cannot consist solely of Sergio Leone's brilliant opus. I had to give Fellini another chance. 8 1/2 was the natural choice.
I now understand what Felliniesque means. I also now appreciate some of my favorite American directors a little more. I see that Woody Allen owes a debt to Fellini. And, do you like Charlie Kaufman's flicks???? OMG. All of them share a lot with 8 1/2. Indeed, one of Kaufman's best -- Synecdoche, New York -- is practically a retelling of 8 1/2 just transferred to a different country and different era. Much of Kaufman's brilliant self-referential mind-bending style comes right out of 8 1/2.
OK, back to the movie. The plot is simple. A famous Italian director is supposed to be finishing up his latest masterpiece. Everyone -- and I mean everyone -- is waiting for it. The money people, including the producer (who is great in this movie), are all impatiently waiting for its completion. The critics are chomping at the bit. The pseudo-intellectuals and socialites and lovers and former lovers and scientists and clergy and foreign press all clamor for the film's release. The actresses and actors want to know how big their parts (roles) will be. But there is one problem. The director, who is supposed to be an oracle for all of society, suffers from a mega-existential writer's block. He cannot get started. He is filled with ennui and doubt. The director, obviously, is supposed to be Fellini. The movie is this one.
My description may not sound funny, but I thought that the banter in 8 1/2 was hilarious. Fellini takes down everyone. He is scathing, and the wit of his dialogue came through even through the subtitles and my cultural ignorance. I laughed out loud several times. There are also the signature dream sequences, flashbacks, and fantasies that take place only in the director's head. It is sometimes difficult to tell what is real and what is not, but that is part of the fun.
BTW, how cool is Marcello Mastroianni as the director Guido Anselmi? Even though Guido is struggling through epic doubts and is obviously lost at sea, he epitomizes cool.
This movie is a delight. See it!!
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