Along the way, she has nonstop visions and heavily symbolic dreams, which are interrupted only by non-sequitur trips to bizarre locales (such as a basket ride to a treehouse in a nearby forest). I'd love to explain further, but to be perfectly honest, none of this makes a lick of sense, leaving us to stare perplexed at Masina's enormous head (perpetually smirking) atop her waifish body while trying to put the nonstop circus/brass band soundtrack out of our heads.
Continue reading: Juliet Of The Spirits Review
Federico Fellini (who, more or less, had directed eight features and one short before this point, hence 8 1/2) found himself at something of a crossroads at this point in his career. He had come off of La Dolce Vita, widely considered his greatest work, in 1960. Fellini, searching for something that would be a worthy follow-up, he finally settled on 8 1/2, an idea which had been languishing with him for years. The story is priceless -- and has been widely copied ever since. Marcello Mastroianni plays a famous Italian movie director named Guido Anselmi, who... get this... is coming off a big hit and is searching for his next project. He finally finds one, but due to the outrageous antics of his old cast and crew, problems with his personal life (wife and mistress, natch), and an increasingly perplexing series of dreams and waking fantasies, getting the movie underway proves challenging indeed. As the project nonetheless gets underway with no script and Guido's cluelessness about what to do next, somehow the movie gets made. The irony, of course, is that there wasn't much of a script for 8 1/2 either (the actors were given their lines for the day each morning, often verbally) -- it's art imitates life imitates art imitates life. A film within a film within a film. Genius!
Continue reading: 8 1/2 Review
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