‘Happiness consists of being able to tell the truth without hurting anyone...’
Ahh my white whale. My elusive Fellini. 8½ has been on my watchlist as long as I’ve had a watchlist, but somehow it’s always evaded me. This is partly circumstance, but partly because, to be honest, I just haven’t fancied it. Over two hours long, in black and white, no plot, no linear storytelling, and with that curious Italian habit of the dialogue being overdubbed – all of this adds up to a difficult cinematic experience. And so it proved…
Guido Anselmi (Marcello Mastroianni) is a man on the edge. Struggling with writer’s block and pursued at every turn by producers wanting a completed film, actresses wanting a part in the film and his truculent wife (Anouk Aimee) wanting nothing but to be loved, Guido retreats into his surrealist mind palace in a futile attempt to find respite.
I will begin by stating that 8½ is visually stunning and it is clear why it is beloved of cineastes far and wide. Mastroianni is astonishing in the lead role, and the shot of him peering over his sunglasses is as iconic as any within cinema. It is also worth noting that the scenes towards the end of the film in which everyone starts to catch up with our hapless director are dizzying and astonishing – all accompanied by Nino Rota’s carnivalesque score. Unfortunately, the destination doesn’t really justify the journey here, and the some of the early scenes are hard going.
8½ won’t be for everyone, but it takes its place in the canon of Italy cinema alongside Le Dolce Vita and Cinema Paradiso, if only for the stunning final half hour alone. If you enjoyed the slowly escalating chaos that defines the third act of Darren Aronofsky’s divisive classic Mother! then you will find plenty to enjoy in 8½.