Finally, someone making an essay on Fellini. I think this film has such a powerful effect because it creates the illusion that it's been following the character's life through this writer's block, only to suddenly transform into a dream-like state. But once you go back and watch it over again, it's all dream-like. Guido's writing partner in the very beginning, with notes full of criticisms for his protagonist, becomes a brutal act of self-criticism. His communion with the religious authorities is set in the mud room, with these men bathing in fecal ooze as they lay down the dogma of their creed. His "old friend" is a living embodiment of vaudeville, the father of cinema. Guido's mentor dances with a glamorous girl, thinking it's making him younger, when it only makes him older. The girl dares not let anyone look into her mind, lest they see who and what she really is, a falsehood, an illusion. All these are inner characters, dream characters, aspects of Guido, existing in his own inner world. Even the Woman in White meant to redeem Guido with her understanding, when she finally arrives, asks the simple, harsh question, "What is there in this protagonist that's worthy of redemption?" Since he has no answer, he feels that this is the dead end for the film. But it's the question itself that proves she understands, better than he does. That question is the core of Guido's block. He doesn't have an answer. And the whole point of making the movie, of having the dream, is to reach that question, and confront it. It ends with a suicide, or does it? Was any of it real? There have been a lot of films about filmmaking as a process of looking inward since 8&1/2, but very few, if any, have ever come close to its surreal, recursive brilliance. It's a movie about a man trying to make a movie about his life, and the movie he's making is the movie we're watching. It's a movie that's a dream, but what movie isn't? It's a movie that's about the person making the movie, but what movie isn't? It ends with a question, is Guido alive or dead? What part was real, and what's a dream? Of course, the answer is that none of it's real, and none of it's a dream. It's a movie. In fact, I'd say the modern movie that has the most in common with 8&1/2 is Inception, with its character modeled directly after the director, blending movies, dreams, and its protagonist's personal history into a continuum. It ends with the ambiguity of whether the protagonist is awake or still asleep. But the answer is both, and neither. The truth is, he is and has always been a character in a story. Just like Guido.
You forgot his very honestly portrayed fear that all those beautiful women that surround him will actually want to have minds of their own separate from him, and yet more, have genuine emotional reactions to his lies too!!
This was a great analysis. This was one of my favourite movies, but I haven’t even thought of it for years! Thanks for reminding me how good it is. It made me remember how good creative works DONT fit into boxes, how good creative works are completely new and so can’t be fit into any pre-existing categories. I think the biggest thing that resonated with me here was the concept of The Truth, and how that is arguably the most important muse one can have, and that connecting with it can reconnect you with that font of creativity. Thanks!
@@ClashGamerGTAwdym by this film not having any sense? Are u like talking bout the surreal aspects of this movie not having to say anything because u just commented this on an essay in which is literally described what the film has to say
Absolutely... the blocking, and choreography of camera movement, actors, sets, props and musical accompaniment is nothing short of miraculous - definitely among my all-time Top 5 Films! I could certainly make the case for it as the greatest film ever made.
@@arnavverma4507 Right. It's an absolutely stunning film to look at, but these essays can't be all things every time. Sometimes, it's best to focus on one aspect.
This is the best analyisis of this film i have ever seen amazing. I thought i knew this film inside out ive seen it many times and its one of my all time favourites. However you proved me wrong theres always more to learn about this movie and your brilliant video makes me want to watch the film again.
How To Cure A Lack Of Inspiration: 1. write a story about losing your mind under the intense pressure to create... 2. the story needs a happy ending... 3. so he has his alter-ego use the framework of the SPACESHIP set (the physical embodiment of the pressure itself) to create a masterpiece final scene where all the characters come together in epic harmony. 4. by writing this screenplay, he effectively showed us all an example of how to 'create a solution to your problem, by cleverly using the problem itself!"
Great video. Wondering if you can point me to the source of one of the quotes you provided: "Dreams are the only reality…is the unconscious ever used up? Do dreams ever end?” I'd love to read the context and the rest of what he said around this. Any help in finding this quote would be appreciated.
excellent-I'm late by this is still great! minor but, I think: 3:54 it's his self-styled critic (and possibly co-writer) that character NEVER provides ANY useful help, just criticism. he's not the financier (that's the guy with the hot blonde - and the film studio owner is the fat man). Walking around with your own "Critic" is hilarious...
Someone else noticed that this video is also 8 1/2 minutes?
damn
Finally, someone making an essay on Fellini. I think this film has such a powerful effect because it creates the illusion that it's been following the character's life through this writer's block, only to suddenly transform into a dream-like state. But once you go back and watch it over again, it's all dream-like.
Guido's writing partner in the very beginning, with notes full of criticisms for his protagonist, becomes a brutal act of self-criticism. His communion with the religious authorities is set in the mud room, with these men bathing in fecal ooze as they lay down the dogma of their creed. His "old friend" is a living embodiment of vaudeville, the father of cinema. Guido's mentor dances with a glamorous girl, thinking it's making him younger, when it only makes him older. The girl dares not let anyone look into her mind, lest they see who and what she really is, a falsehood, an illusion. All these are inner characters, dream characters, aspects of Guido, existing in his own inner world.
Even the Woman in White meant to redeem Guido with her understanding, when she finally arrives, asks the simple, harsh question, "What is there in this protagonist that's worthy of redemption?" Since he has no answer, he feels that this is the dead end for the film. But it's the question itself that proves she understands, better than he does. That question is the core of Guido's block. He doesn't have an answer. And the whole point of making the movie, of having the dream, is to reach that question, and confront it. It ends with a suicide, or does it? Was any of it real?
There have been a lot of films about filmmaking as a process of looking inward since 8&1/2, but very few, if any, have ever come close to its surreal, recursive brilliance. It's a movie about a man trying to make a movie about his life, and the movie he's making is the movie we're watching. It's a movie that's a dream, but what movie isn't? It's a movie that's about the person making the movie, but what movie isn't? It ends with a question, is Guido alive or dead? What part was real, and what's a dream? Of course, the answer is that none of it's real, and none of it's a dream. It's a movie.
In fact, I'd say the modern movie that has the most in common with 8&1/2 is Inception, with its character modeled directly after the director, blending movies, dreams, and its protagonist's personal history into a continuum. It ends with the ambiguity of whether the protagonist is awake or still asleep. But the answer is both, and neither. The truth is, he is and has always been a character in a story. Just like Guido.
You forgot his very honestly portrayed fear that all those beautiful women that surround him will actually want to have minds of their own separate from him, and yet more, have genuine emotional reactions to his lies too!!
This was a great analysis. This was one of my favourite movies, but I haven’t even thought of it for years! Thanks for reminding me how good it is. It made me remember how good creative works DONT fit into boxes, how good creative works are completely new and so can’t be fit into any pre-existing categories.
I think the biggest thing that resonated with me here was the concept of The Truth, and how that is arguably the most important muse one can have, and that connecting with it can reconnect you with that font of creativity.
Thanks!
I do also like it, but I think that it is a movie without any sence. Mayve thats the good thing about it.
@@ClashGamerGTAwdym by this film not having any sense? Are u like talking bout the surreal aspects of this movie not having to say anything because u just commented this on an essay in which is literally described what the film has to say
This movie Is just a superlative Masterpiece, for real. Each frame and performance. 🙏🏽👏🏻
you didn’t really touch too much on the cinematography , which is an absolutely essential part of what makes this film THIS FILM
Absolutely... the blocking, and choreography of camera movement, actors, sets, props and musical accompaniment is nothing short of miraculous - definitely among my all-time Top 5 Films! I could certainly make the case for it as the greatest film ever made.
@@Jimmy1982Playlists the film just feels alive , it has this bustling atmosphere with what seem like real people
@@ordjk4797 talking about cinematagraphy is not relevant here. More important is the idea which makes it a great film.
@@arnavverma4507 Right. It's an absolutely stunning film to look at, but these essays can't be all things every time. Sometimes, it's best to focus on one aspect.
man, this is great. my fav film ever and you did such a good job. very nice essay
This is the best analyisis of this film i have ever seen amazing. I thought i knew this film inside out ive seen it many times and its one of my all time favourites. However you proved me wrong theres always more to learn about this movie and your brilliant video makes me want to watch the film again.
Cool videos you have a new subscriber
great film and great analysis
How To Cure A Lack Of Inspiration:
1. write a story about losing your mind under the intense pressure to create...
2. the story needs a happy ending...
3. so he has his alter-ego use the framework of the SPACESHIP set (the physical embodiment of the pressure itself) to create a masterpiece final scene where all the characters come together in epic harmony.
4. by writing this screenplay, he effectively showed us all an example of how to 'create a solution to your problem, by cleverly using the problem itself!"
Cool video! Have you moved on to greater things? Are you a creative mind, Alexandria's Echo?
Great video. Wondering if you can point me to the source of one of the quotes you provided: "Dreams are the only reality…is the unconscious ever used up? Do dreams ever end?” I'd love to read the context and the rest of what he said around this. Any help in finding this quote would be appreciated.
It isn’t the financier it’s the writer, where Guido is the Director.
To me it seems like his personified self-doubt.
4:53 That equals 8…..
He also co directed a movie with another director so that became the 1/2 I think
@@gracesss1272 Yep, you are spot-on! He co-directed his first, Variety Lights...
@@Jimmy1982Playlists Ohh amazing! thank you for your clarification!
excellent-I'm late by this is still great!
minor but, I think: 3:54 it's his self-styled critic (and possibly co-writer) that character NEVER provides ANY useful help, just criticism. he's not the financier (that's the guy with the hot blonde - and the film studio owner is the fat man). Walking around with your own "Critic" is hilarious...
really enjoyed, great video but Big Fish is not an utter rip off lol