Rating: 
Summary: The Extras Outpace the Movie!
Review: This is my first experience with Fellini. In my college days, I often heard the expression, "You don't have to be Fellini to figure that one out," and am only now coming to realize what that meant. Fellini is fearless in exploring the most difficult questions, like one's sexual honesty, the ability of anyone to "tell the whole truth" to the public when one is less than honest with onesself, and what level of certainty one must have in order to instruct others. If these questions seem a bit obtuse -- they are. Yet, I defy anyone to show these most primal of subjects addressed in American films. At least Fellini addresses them with a sense of humor, without losing his emotional or physical passion, and with images that will stay with you for many days after viewing this film.The clarity of picture and sound are impressive. It is a rather "honest" portrayal of a movie director with the cinematic equivalent of writer's block. On first viewing, I must confess that I missed some of the Italian cultural references, of which I was informed by watching the movie with the running commentary (top notch). But here is the real rub on this one -- this movie is worth owning for the extras. These are contained on a separate disk, and merit watching over and over and over again. The interview with Sandra Milo (Fellini's mistress of some 17 years) is worth the price of the DVD set alone. The hour-long documentary made by Fellini himself contains clips of movies that never made it into production and, for me, represent the ultimate in entertainment value. So, even if the subject matter of 8 1/2 does not sound like your cup of Chianti, buy it for the extras alone. You will want it if you enjoy any of Fellini's other films.
Rating: 
Summary: Fellini's masterpiece--what else could it be?
Review: Semi-autobiographical self-analysis mixed with fantasies in a movie? It worked for Fellini to the point that it yielded him his third Oscar for best foreign film, the other two being La Strada and La Dolce Vita. It's a unique testament to his vision. The opening scene itself is memorable. In it, Guido Anselmi is inside a car surrounded by traffic. He tries to get out but can't, frantically rapping on the window, unable to breathe. The occupants of the other cars stare expressionlessly at him. It's a brilliant symbol of the oppression of society and conformity. The allegory continues with him soaring into the sky and being a human kite, after which authority orders him to be brought back down to earth instead of being in the clouds. How repressive! Guido is a film director in his stride who's onto a rough start with his current project. Yet his collaborator Daumier finds several flaws. There is no fundamental guiding principle, no philosophical premise, and ambiguous intention. One thing that Guido wants for sure is an angelic woman dressed in white, symbolizing innocence, purity, and salvation. Ironically, in the end, it is she identifies his problem for him. The reason why there isn't a coherent project going on is that the movie is more scenes from Guido's childhood, and many of those are played throughout the film. He wants to make a film that is honest, helpful to everyone, and that will bury everything dead in everyone. But does he really have anything to say? In the meantime, he is hounded by his producer to stick to schedule, hire actors, and start shooting. He also has a mistress Carla, who's extravagant, sexy, a bit loquacious, being at an impasse in his marriage to Luisa. But it's the fantasy-world and the past that he retreats to in times of stress that's the real wonder here. We learn of his encounter with the hefty and sensuous Saraghina, who lives on the beach and who teaches the local Catholic school kids forbidden dances. The scene of having his own harem, full of the women whom he has encountered, is nothing more than a big booster shot to his male ego. I need to daydream something like that more often. In the scene between Guido and the Catholic cardinal, I found a line there that reminded me why I quit going to church. Guido complains of not being happy. The cardinal replies, "Why should you be happy? That is not your task in life. Who said we were put on Earth to be happy?" He then quotes from Origenes: "There is no salvation outside the Church." A question from Guido to Claudia, the stunning actress tapped to play his pure angel is also one to us all: "Could you choose one single thing and be faithful to it? Could you make it the one thing that gives your life meaning, just because you believe in it?" Marcello Mastroianni is well-placed as Guido, as is Sandra Milo as Carla and Anouk Aimee as Luisa. Barbara Steele plays someone usually out-of-character compared to the horror films she did during this time, as Gloria, the poetic young fiancee of Guido's friend Mario. She has a wonderful line: "The cruel bees have sucked the life from these poor flowers." This movie was called 8-1/2 because Fellini had done seven films plus three collaborations in which he shot a short segment for an anthology, counting each collaboration as half, so he decided this film would be his 8-1/2th. One of those movies in a league by itself.
Rating:
Summary: A perfect film
Review: Considered to be one of the best films of all time, and Federico Fellini's masterpiece, this 1962 autobiographical account of a burnt out film director, is perfect in every aspect. From direction, acting, script, cinematography, dialog, etc etc, there can be no improvement. We follow Guido who is trying to make a film, but lacks inspiration, and cannot focus or find answers, as everyone in his life frustrates him. The world confuses him, as he is confused inside himself as well. He uses fantasies, and past memories, to confront his hectic situation, and come out with meaning, and understanding. This film can be confusing, as the film goes from reality, to the subjective fantasies of Guido, at any moment. If you pay attention, you will see what is real and what isn't. There is a lot of philosophy and reflection. Overall this is a very meaningful film, and rewards multiple viewing, and offers different interpretations. Recommend if you can handle alternative types of films. 5 stars.
Rating: 
Summary: Criterion transfer much better
Review: First off, its one of the 10 greatest movies. If you have any interest in the history of cinema, its a must-view. However, the Image Entertainment single disc edition suffers from a decent transfer of a mediocre print, with much distracting dust and emulsion chipping present. The Criterion 2 disc version, while weighed down by a second disc of less interesting documentaries issue appears to have far fewer print defects. IMHO the commentaries and better transfer make the Criterion disc a better purchase.
Rating:
Summary: one of the greatest films ever made
Review: 8 1/2 What can I say? This is one of the most influential films ever created, and it has been brought to us by criterion in one of the most beutiful video transfers ever made. The two disc set has more extras than you'll know what to do with, and as i said, the picture is totally spotless, as if you were viewing it on the day of it's release! If you haven't seen the film, you should, If you have seen the film, go see it again. In any event, I won't spoil the plot, only say i that Fellini has given us the most incredible view of surreal expressionism, and any lover of fine art should apreciate it, thanks again Criterion.
Rating:
Summary: Fellini & Mastroianni Essential Viewing
Review: If you have ever wondered what all the fuss was about regarding director Fellini & leading man, alter-ego Mastroianni, this film will resolve any doubts. It is a superb autobiographical look at Fellini (played wonderfully by Mastroianni) by Fellini. He sugarcoats nothing so it is a complete portrait of the artist, the man, the filmmaker. It is peopled by the many distinctive faces that would be called Felliniesque in later years plus is shot in surreal, dreamy black and white. Perhaps the most complex issue is the role of women in his life plus its related issue of family. Those hugely influenced his filmmaking even though most viewers associate him with much more avant garde issues. This film later influenced Woody Allen in making his autobiographical "Stardust Memories" and Bob Fosse in making "All That Jazz." The word that comes to mind about all 3 films is "unflinching." There is a companion film to this one that I like as well or even better, Fellini's "City of Women," also starring Mastroianni.
Rating:
Summary: Fellini at his best
Review: This is among my most favorite films. Fellini's Guido is a director with an identity crisis effecting or as a result of his professional and personal life. The various scenes are powerful examples of what Fellini can do when he's operating at his full artistic capabilities. Part magical realism, part autobiography and done in a style that only Italian film was once able to do, watching 8 ½ has always been a great experience for me. Fellini's self-conscious artistic manner and self-absorption, which can drag down some of his later works, become the strengths of 8 ½. His dreams, doubts and visions are the film itself and delivered so masterfully that Fellini never again was able to match (though he came close) this sort of narrative. There are so many great scenes in this film. Among the best is the imaginary "revolt" of the women in his life, where Guido's home is full of a "harem" that all turn against him. Equally great is the circus scene where freaks and mirrors reflect the turmoil and confusion in his life. Some might call this an "artsy" film, which I think is a back handed complement. I don't I think it's film being "artsy", I think it's film telling a story the way a great novel can. Along with "La Dolce Vita" this is Fellini's greatest work.
Rating:
Summary: A must see for the artsy types.
Review: Every shot in this film seems like it could be framed and put in an art gallery. Beautifully restored by Criterion, this film is Fellini's magnum opus. This two disc set is the BEST version and the only way to see and understand this brilliant film. Filmmakers such as Woody Allen and Terry Gilliam adore this film and consider it to be one of the greatest of all time. It might take the average viewer a few times before they fully understand the meaning behind this film, but it is a truly amazing and important contribution to the history of film. Give it a chance and watch it a few more times. This is the film for the SERIOUS film fan!
Rating:
Summary: BEAUTIFUL, HAUNTING AND POETIC FILM.
Review: This the best portrait of an artist's mind ever made in Cinematic terms. Fellini captured the true whirlwind of ideas, fantasies, desires, evocations, memories and nightmares of a film director (in this case, Mastroianni) who suffers from a blank in the middle of his will-be next film. This is a film where Fellini uses himself as the primary source for his character with beautiful evocations of his own childhood and all the characters that populate his mind. Constructed against the idea of a plot, the film goes deeper and deeper into the main character's mind allowing Fellini do display his true command of the images.
Beautifully shot in B&W it is incredible how Fellini and his cameraman arrange all the elements inside the frame - resulting in shots that are not found anywhere else. Every shot is a masterpiece of image composition that only DVD can do justice to. This CRITERION edition is vastly superior to all other versions of this film. Not only it provides top quality on the film itself, but also a huge amount of valuable extras. The comentary is key to understanding the "whys" and "hows" of the Fellini universe. But there are also photos, interviews, a Fellini's short, a documentary, etc. A true masterpiece from a master director.
Rating:
Summary: STRONG AND POWERFUL
Review: This is how I want my movies to be. Strong, powerful, and demending. This is a classic of the European film-making.
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