The film starts off with a nightmare and ends with a hazy dream sequence. In between reality usually takes a back seat to the director/hero's memories, dreams and frustrations. That Fellini is basically making a movie about making a movie, that Marcelo is the embodiment of the director, that the movie is basically a cathartic process for Fellini himself, a necessary stop after the phenomenal success of La Dolce Vita, is well documented. I would disagree with those who say that it is a difficult movie and that deep psychological analyses are needed for someone to grasp the meaning of the movie.
The movie is a visual pleasure today and its story is actually quite neatly organized around specific sequences: the dreams, the harem, the catholic school, the mistress etc. Fellini is quite aware that, deep meanings and intellectual status aside, a movie is essentially the dissemination of the director's vision to the viewers. Marcelo understands that the arduous process of making the film needs to finish once he fantasizes crowds of journalists hunting him down, asking for 'smart' and 'intellectual' comments on the most basic questions of human life. Fellini is making a film about himself - but one that can be acknowledged and enjoyed by all his viewers.
The different sequences are like small paintings or postcards representing the director's memories and dreams laid down side by side. The viewer need nothing but look at them and enjoy them for what they offer at hand: the poetry of the fat prostitute sitting on a chair by the sea, Anouk Aimee being transformed in the same movie from a neurotic wannabe-emancipated woman to a patient 'manager' of the harem, the carnival sequence of the last 5 minutes - possibly the most beautiful 5 minutes in cinema history. The movie even offers a happy-ending - in the end, it's THAT accessible! In the end the catharsis Marcelo finds by not making the film symbolizes the catharsis Fellini himself finds by making 8 1/2: He knows he managed to produce a personal, self-analytical piece of work that at the same time is engaging, humorous at times, visually pleasing, touching on various important subjects through lively dialogues and pretty settings. If anything, 8 1/2 is a celebration of the liberation potential of cinema, both for its creators and its viewers. The end credits find Fellini celebrating with his viewers the pleasures of this art.
The movie is a visual pleasure today and its story is actually quite neatly organized around specific sequences: the dreams, the harem, the catholic school, the mistress etc. Fellini is quite aware that, deep meanings and intellectual status aside, a movie is essentially the dissemination of the director's vision to the viewers. Marcelo understands that the arduous process of making the film needs to finish once he fantasizes crowds of journalists hunting him down, asking for 'smart' and 'intellectual' comments on the most basic questions of human life. Fellini is making a film about himself - but one that can be acknowledged and enjoyed by all his viewers.
The different sequences are like small paintings or postcards representing the director's memories and dreams laid down side by side. The viewer need nothing but look at them and enjoy them for what they offer at hand: the poetry of the fat prostitute sitting on a chair by the sea, Anouk Aimee being transformed in the same movie from a neurotic wannabe-emancipated woman to a patient 'manager' of the harem, the carnival sequence of the last 5 minutes - possibly the most beautiful 5 minutes in cinema history. The movie even offers a happy-ending - in the end, it's THAT accessible! In the end the catharsis Marcelo finds by not making the film symbolizes the catharsis Fellini himself finds by making 8 1/2: He knows he managed to produce a personal, self-analytical piece of work that at the same time is engaging, humorous at times, visually pleasing, touching on various important subjects through lively dialogues and pretty settings. If anything, 8 1/2 is a celebration of the liberation potential of cinema, both for its creators and its viewers. The end credits find Fellini celebrating with his viewers the pleasures of this art.