Now everything's all confused once again, like it was before. I wish I could explain, but I don't know how. On the other hand, Fellini gives us a marvelous moment when even these women in his fantasy rebel against these thoughts ('A real man loves women with no regard to their age.') The director is called out by his wife for his deceptions ('Another fiction, another lie'), as well as by his 'ideal woman' (Claudia Cardinale: 'You're such a phony.') He is also redeemed in a very touching speech to his wife:

He wishes that when they got too old, they accepted being removed from his life/consciousness by 'going upstairs'.

He wishes all of his past lovers were available to him, and that they brought him new women, such as an 'exotic' black girl from Hawaii. He wishes she accepted his mistress, and got along with her. He wishes his wife was content to work long hours cleaning and taking care of the house. My only criticism of the film is that the director's fantasies, while honest, are not exactly enlightened relative to women. Everything is connected in this carnival of the mind. I say realistic not in the sense of neorealism (far from it), but in the sense that this is how our minds work - for the director, events in the present trigger memories of his past, and memories of the past are reflected in his actions and his films in the present. Because of the fantasies the film has a surreal feel to it, but at the same time, it's also quite realistic, and feels at least partially auto-biographical. It's like a 'Rosebud' type of effect spread out over many situations, and it reminds us that the good and bad memories we carry around are always present, influencing our thinking and our emotions. What we see is just how close to the surface events from his childhood long ago really are. Everything around him is a swirl, from the pressure his producer applies, to advice and commentary from everyone around him, to his lover (Sandra Milo) and wife (Anouk Aimée) both showing up. Through flashbacks to childhood, dreams, and fantasies, we see the inner mind of his main character, a director (Marcello Mastroianni) who struggles to figure out what to do for his next big film, even after sets have been built, and actors brought to the location. I'm usually not that big a fan of movies that describe the process of movie-making, or books that describe the process of writing for that matter, especially if it's about the difficulties and what amounts to 'writer's block', but in this case, director Federico Fellini is so masterful that it's impossible not to love 8 1/2. Beautiful, artistic, well-crafted, innovative, influential, heartfelt, and playful.

8 1 2 federico fellini 1963 torrent