I saw it once decades ago and I've put off rewatching it for the dumbest, most bizarre of reasons... I recall feeling like it was too good and I wasn't deserving of viewing it again. LoL! 8 1/2 was too great a cinema experience it's practically intimated me to revisit! 😂 But I'm going back to it real soon.
This is wonderful and full of great insights from Gilliam. As he said, Fellini was a cartoonist like him and perhaps he shares a particular, distorted or exaggerated view of the world with him. I was particularly struck, though, by Gilliam's comment that he shared Fellini's intention to look at the world with a sense of wonder, awe and excitement and Gilliam comments on this film as the type of the film that is not made anymore. This film, along with Citizen Kane, is a blueprint of how to make that certain kind of film and many have imitated the techniques here but the joy and wonder that Fellini infused in it is not so easy to imiatate. Gilliam talks about the opening sequence but I always remember being so moved by the final sequence as one of the great endings of any film. He was a true artist and Eight and A Half is one of the truly great films of cinema.
The stuff about this being Fellini's eighth-and-one-half films is pure nonsense. He was obviously 8 1/2 years old when Saraghina awakened his interest in sex and the priests whacked him for it. He's 8 1/2 when his family dunks him in the wine vat. He's 8 1/2 at the end when he leads all the characters in his film/life in a dance around the circle. If you remember being 8 1/2 it's an age when you are like water--a sensitive chaos, absorbing everything. Guido's adult problem is accurately stated by Claudia Cardinale: You never learned how to love. His development was interrupted when he was 8 1/2.
Despite having watched Fellini and Gilliam extensively, I never saw the similarities until this clip! I always thought Gilliam was too "cool". But here the context of wonder is made much clearer.
81/2 is one of my favorite Fellini movies a n d one of his best. My take is that 81/2 is an imaginative look at making movies primarily from the film directors perspective. Thus the film differs from a movie about movies like Truffaut's Day for Night. That is an exact film about making films almost documentary like at times. 81/2 though merges the dream world with the real world and on relies on its imagery to make its points. It's really a movie not a film. It has the feel and texture of a movie , an entertainment as opposed to a film, a more high toned serious document. It's not that Fellini isn't making intriguing points about being a filmmaker but he is utilizing dreams and dreaming as a way to discuss the pressures of directing: the endless decisions that must be made, the juggling of one's private life a n d professional obligations, the inspiration one gets from time to time. 81/2 is essentially film as carnival . A carnival within the mind and outside of it as well.
On my recent rewatch, I noticed that there's never any moment where we see the filmmaking process. The closest we get is when they're reviewing footage in a large screening room, but that can happen in detective stories where they're trying to find clues in the footage, but if someone who didn't speak Italian were to watch the film without subtitles, they'd watch scenes about an person's life and their dreams which is where most artists pull their creativity from. I think it was really clever on Fellini's part not to focus on the tools or filmmaking equipment because that might have diluted the effect of getting inside the artist's head which it does so well at.
@@juniorjames7076 Don't worry about it. It's a nonsensical distinction that was invented to drive a wedge between two imaginary categories. Die Hard is a film, and Orphée is a movie, and they are both of them motion pictures.
This is by far and away the best channel on youtube right now. Thank you for all the content, its truly indispensable
if only it didnt have that earworm intro
Oh yeah. I am a film student, learned Japanese so I could watch kurosawa. 400 blows is Me and Sword of Doom are my life. This channel is so delicious.
Best content.
Hear, hear! I love this stuff, and the editing is superb.
8 1/2 tripped me out.. but if you love cinema, it is intoxicating. One fucking incredible shot after another.
I saw it once decades ago and I've put off rewatching it for the dumbest, most bizarre of reasons... I recall feeling like it was too good and I wasn't deserving of viewing it again. LoL! 8 1/2 was too great a cinema experience it's practically intimated me to revisit! 😂 But I'm going back to it real soon.
Quite possibly the greatest film of all time. _Period!_
This is wonderful and full of great insights from Gilliam. As he said, Fellini was a cartoonist like him and perhaps he shares a particular, distorted or exaggerated view of the world with him. I was particularly struck, though, by Gilliam's comment that he shared Fellini's intention to look at the world with a sense of wonder, awe and excitement and Gilliam comments on this film as the type of the film that is not made anymore. This film, along with Citizen Kane, is a blueprint of how to make that certain kind of film and many have imitated the techniques here but the joy and wonder that Fellini infused in it is not so easy to imiatate. Gilliam talks about the opening sequence but I always remember being so moved by the final sequence as one of the great endings of any film. He was a true artist and Eight and A Half is one of the truly great films of cinema.
I never tire of looking at the marvelous Claudia Cardinale!
Same with Bardot and Monica Vitti, Lollobrigida.
Such wisdom about the childlike perspective of filmmakers here, yet his attitude about Spielberg's ET is so cynical and narrow. Humans, man.
So much of this movie is visual metaphors and the human experience in images.
So amazing a perspective. One of the best of these videos.
God i love this
I just finished 8½ and for my first Fellini film I can say it was worth the watch.
The stuff about this being Fellini's eighth-and-one-half films is pure nonsense. He was obviously 8 1/2 years old when Saraghina awakened his interest in sex and the priests whacked him for it. He's 8 1/2 when his family dunks him in the wine vat. He's 8 1/2 at the end when he leads all the characters in his film/life in a dance around the circle. If you remember being 8 1/2 it's an age when you are like water--a sensitive chaos, absorbing everything. Guido's adult problem is accurately stated by Claudia Cardinale: You never learned how to love. His development was interrupted when he was 8 1/2.
You made this up
Despite having watched Fellini and Gilliam extensively, I never saw the similarities until this clip! I always thought Gilliam was too "cool". But here the context of wonder is made much clearer.
81/2 is one of my favorite Fellini movies a n d one of his best.
My take is that 81/2 is an imaginative look at making movies primarily from the film directors perspective.
Thus the film differs from a movie about movies like Truffaut's Day for Night. That is an exact film about making films almost documentary like at times.
81/2 though merges the dream world with the real world and on relies on its imagery to make its points.
It's really a movie not a film. It has the feel and texture of a movie , an entertainment as opposed to a film, a more high toned serious document.
It's not that Fellini isn't making intriguing points about being a filmmaker but he is utilizing dreams and dreaming as a way to discuss the pressures of directing: the endless decisions that must be made, the juggling of one's private life a n d professional obligations, the inspiration one gets from time to time.
81/2 is essentially film as carnival . A carnival within the mind and outside of it as well.
This is the first time I have ever heard someone differentiate a "movie" from a "film". Hmmm. More please.....
On my recent rewatch, I noticed that there's never any moment where we see the filmmaking process. The closest we get is when they're reviewing footage in a large screening room, but that can happen in detective stories where they're trying to find clues in the footage, but if someone who didn't speak Italian were to watch the film without subtitles, they'd watch scenes about an person's life and their dreams which is where most artists pull their creativity from. I think it was really clever on Fellini's part not to focus on the tools or filmmaking equipment because that might have diluted the effect of getting inside the artist's head which it does so well at.
@@juniorjames7076 Scorsese always says that he wishes movies to become films again
@@juniorjames7076 Don't worry about it. It's a nonsensical distinction that was invented to drive a wedge between two imaginary categories. Die Hard is a film, and Orphée is a movie, and they are both of them motion pictures.
I like seeing longer vids. Hope to see more.