| Cineriz | Release Date: June 24, 1963 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
23
Mixed:
0
Negative:
0
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Critic Reviews
Thirty years after its premiere, despite being in black and white and despite the irritating lip-flap from the Italian penchant for post-dubbing dialogue, Federico Fellini's 8 1/2 is a remarkably fresh film, a landmark of cinema that seems to defy dating. [07 May 1993, p.H]
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]
I don't think that 8 1/2 "says" very much, but it is breathtaking to watch. One doesn't come away from it as from, say, the best Bergman or Renoir-with a continuing, immanent experience; one has to think back to it and remember the effect. But that is easy, for the experience is unforgettable.
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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.
The film succeeds, and for many reasons: because of Fellini's wonderfully self-deprecating humor — the way he mocks the idea of the director as a genius, the artist as romantic hero; because of his honesty in expressing both his dreams of glory and his self-hatred, anxiety, and dread; and because visually it’s stunning and exhilarating.
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It's the usual Fellini magic: a long, challenging movie overflowing with creativity and verve. [16 Dec 2001]
Dreams of the future merge with memories of the past as a fascinating array of imagery is conjured to the screen. The effect is sometimes confusing - but always beautiful - and eventually intertwines to a singular life-confirming realisation that cuts through the madness and embraces it.
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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.
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A mad compound of naturalism, surrealism, farce and philosophy. [07 Jul 1996, p.65]
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